Finding Neverland (libretto)

FINDING

NEVERLAND

WORKSHOP DRAFT: MONDAY 26th AUGUST

The Weinstein Company

CHARACTERS

J M Barrie Charles Frohman Sylvia Peter George Jack Michael Mary Barrie Mrs. Du Maurier Buchanan Mrs Buchanan Sinclair Mrs Sinclair Canon Ponsonby Elliot Mr. Henshaw Mr. Cromer Miss Bassett Miss Potter Mr. Turpin (all of whom double up as characters from PETER PAN) Servant Mr. Snow Mrs. Snow Porthos the dog

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SONG LIST ACT ONE 1. OPENING NIGHT 2. BELIEVE 3. BETTER 4. BIG ADVENTURE 5. HE MAKES ME SMILE 6. WE OWN THE NIGHT 7. DREAM THE DREAM 8. NEVERLAND 9. CIRCUS OF YOUR MIND 10. STRONGER/ PIRATE INSIDE

ACT TWO 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.

FIRST DAY LAST MAN STANDING WHAT YOU MEAN TO ME WE’RE ALL MADE OF STARS WHEN YOUR FEET DON’T TOUCH THE GROUND FIRST DAY (reprise) STAND OPENING NIGHT (reprise) ALL OF US NEVERLAND (reprise) WHEN YOUR FEET DON’T TOUCH THE GROUND (reprise) STAND (reprise)

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PROLOGUE. DUKE OF YORK’S THEATRE Backstage of the theatre. ELLIOT, a stage manager, runs over to American producer CHARLES FROHMAN. ELLIOT Mr. Frohman, Mr. Frohman! It’s a full house! They’re queuing twice around the theatre and back again! ELLIOT (CONT’D) I CAN SEE THEM, SEE THEM FORMING PERFECT LINES LADIES DRESSED UP TO THE NINES ALL OF LONDON’S MOST REFINED FROHMAN IT’S MY MOMENT, IT’S THE TIME I LOVE THE BEST SHAKING HANDS AND GREETING GUESTS CONVINCING FRIENDS TO REINVEST Actors have gathered around Elliot and Frohman ACTORS OH, ALL THE TIME IN PREPARING FOR THIS ONE NIGHT IS EVERYTHING NEVER SURE, NOW WE KNOW IT FOR CERTAIN FROHMAN RAISE THE CURTAIN, TIME FOR IT TO BEGIN Frohman steps through the curtain. FROHMAN (CONT’D) Ladies and Gentlemen, welcome to the Frohman Repertory Company, I’m Charles Frohman, the man who brought you Granville Barker, Bernard Shaw, and I can honestly say that what you’re about to see is the best I have produced in over 25 years. Tonight’s writer is the creator of proper plays, thoughtful plays, offering a peak into the parlour rooms of dowagers and duchesses, serious and important plays, and tonight’s piece is no different, so please put your hands together for your favourite playwright and mine MISTER - J - M BARRIE! A follow spot moves to pick out the writer in question --- and he’s not there. Frohman musters a producers grin to cover...

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4.

FROHMAN (CONT’D) You see?! The master of suspense! An elusive man of mystery. And far too modest to come out and take a bow. Frohman heads backstage to look for Barrie. A pair of elderly patrons stop him. MRS SNOW Oh Mr Frohman, we were so hoping to speak with Mr. Barrie. So was I.

FROHMAN

MR SNOW We’ve seen every one of his plays. Is he here? FROHMAN Why of course he is. Somewhere... Barrie’s wife MARY takes Frohman aside. MARY Charles, if you do find my husband could you remind him that the play about to start is his, and that he may wish to attend? FROHMAN Elliot, where the hell is he? ELLIOT I can’t find him. Is this normal? FROHMAN Normal?! Elliot, normal does not apply to playwrights. Where the hell is he?! We can’t wait any longer -

26/8/13 ELLIOT Beginners, please take your opening positions! ACTORS AT THE START OF THE SHOW WHEN NOBODY KNOWS JUST WHAT TO EXPECT OR BELIEVE THE TENSION IS HIGH AND THE SILENCE IS LOUD AND IT’S GETTING MUCH HARDER TO BREATHE AND YOU’RE WAITING FOR THE SOUND OF THEIR LAUGHTER AND YOU’RE WAITING TO CELEBRATE AFTER WAITING FOR SIX HUNDRED PEOPLE TO MAKE UP THEIR MINDS OH THAT’S OPENING NIGHT The scene is transforming into Kensington Gardens. ACTORS (CONT'D) OH THAT’S OPENING NIGHT ELLIOT (pointing to the bench) There he is, Mr. Frohman, on that park bench. FROHMAN OH OH OH OH - there you are James.

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SCENE 1. KENSINGTON GARDENS A park bench, where Barrie is sat, dog PORTHOS beside him, basking in the sunlight. Elliot has arrived with Elliot. FROHMAN Fancy seeing you here, we missed you last night - Elliot, what were we doing last night, I can’t remember. ELLIOT Opening a new play, Mr Frohman FROHMAN Opening a new play, that’s right; and who was that play by, Elliot? I forget his name ELLIOT J. M Barrie FROHMAN J. M. Barrie! Oh yes of course. BARRIE I’m sorry, Charles. I couldn’t stomach it. FROHMAN Neither could the audience. BARRIE It went badly, then? FROHMAN Let’s just say that it went. Elliot hands Barrie a selection of newspapers. ELLIOT Mr. Barrie, here you are. Mr. Frohman, you’re needed back at the theatre FROHMAN Ah yes, the ‘scene of the crime’. You go, I need to speak to James. ELLIOT But your 1 o’clock FROHMAN Move it to 2. ELLIOT What about your 2 o’clock?

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7.

FROHMAN I don’t care. ELLIOT But we have to FROHMAN Elliot, go away. Elliot goes, leaving them alone. Barrie opens a newspaper to find a big square cut out of it. BARRIE Huh. Something appears to be missing from the newspaper. FROHMAN Well I’ll be damned. He opens another, holding it up - another hole cut out. BARRIE Nor one here, either. How odd. (he finds one) Ah, look. Here we are. (reading) “Barrie’s latest play” ...“Old fashioned”... “repetitive” ... “lacking imagination”... Why didn’t you tear that one out? FROHMAN That was the good one. Barrie folds the newspaper and sighs. BARRIE I feel stuck, Charles. Uninspired. Porthos has put his head on Frohman’s leg. Frohman looks. FROHMAN James what is this? BARRIE He appears to be drooling on you. FROHMAN How do you turn it off? Frohman stands, wiping himself as Barrie cuddles Porthos. BARRIE You leave Porthos alone. Dog’s have more integrity that any of us. They can only ever be themselves.

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Porthos looks proudly at Barrie, and then scowls at Frohman. FROHMAN Well, let me be myself. The situation is not good, James, we need to talk about what we’re Barrie opens up his note book as Frohman makes to leave. The LLEWELYN DAVIES brothers - GEORGE (oldest) and JACK (2nd oldest) - dash on using twigs as swords. JACK Tell me where you’ve hidden the young prince, oh wicked brother! GEORGE Never! He is my prisoner! FROHMAN (sighs; to the audience) Oh good. Children. Something even more pointless than dogs. BARRIE (annoyed at the noise) Excuse me, what’s the matter? Are you boys lost, or -? MICHAEL (youngest) pops up from under the bench. MICHAEL I’m being held captive because I’m the youngest and it isn’t fair. BARRIE Captive? By whom? GEORGE By me, Prince George! The oldest and easily the wisest! JACK A big head is not the same as being wise! I’m the knight, Jack, the bravest of all of ‘em. The last brother, PETER, has slunk on almost unnoticed in the background, not getting involved. MICHAEL This bench is supposed to be my prison cell. BARRIE Actually I think you’ll find this bench is my sanctuary.

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MICHAEL Protect me from them! FROHMAN Oh good heavens, they’re touching my writer. Frohman runs over to Barrie. BARRIE I will do no such thing. You may have been imprisoned for an entirely necessary reason. (being led by Frohman) Charles, what are you doing? FROHMAN Children are like rats, they carry diseases. You’ll get sick. BARRIE Oh, they’re only playing. FROHMAN I have no interest in this. SYLVIA LLEWELYN DAVIES arrives in a flurry. SYLVIA Boys, why do have to run off like that? Where’s Peter? FROHMAN Oh. It just got interesting. (leaving) Look, I came here to talk to you and as ever, your head is in the clouds. I want you at the theatre this afternoon. I mean it, James. Frohman leaves as Sylvia struggles with a picnic basket in one hand and a parasol that’s blown inside out in the other. SYLVIA (in character) “As Queen of this land, I command you henceforth to help with packing up the picnic hamper.” GEORGE “On penalty of what?!” SYLVIA “On penalty of - tickling!” She chases after them as they laugh and run from her. She all but bumps into Barrie.

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SYLVIA (CONT’D) Oh, I am so-Their eyes meet - a very brief moment between them ... Oh. Hello.

BARRIE

SYLVIA ... Hello. You must forgive me, here you are, being bothered by these noisy boys when all you’ll be after is some piece and quiet. BARRIE Honestly, it’s SYLVIA GEORGE PUT THAT DOWN NOW! Her shout is right by Barrie’s ear, making him stumble back. George has Barrie’s journal from the bench. GEORGE Are you a writer? BARRIE Some of the time, yes. My name is J.M Barrie. SYLVIA Oh good heavens. Not the J.M Barrie. Wait a minute, what was ... (thinks) “There are two types of women: the woman you imagine and the woman you marry.” BARRIE Ha, yes from ‘The Little Minister’. SYLVIA Sylvia Llewelyn Davies. And this is George and Jack and Michael and somewhere is Peter - PETER?! George and Jack are with Porthos. GEORGE Who is this? BARRIE That’s Porthos. JACK May I have him for my horse.

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My horse. MY HORSE!

11.

GEORGE JACK

They start pushing, shoving, and slapping - until the smallest, Michael, takes his mother’s umbrella and whacks them with it. MICHAEL KNOCK IT OFF, THE PAIR OF YOU! BARRIE Well, I’m afraid he can’t be either of yours, because Porthos isn’t a horse, clearly. GEORGE Well no of course not, but BARRIE He’s a bear. The boys begin to giggle. MICHAEL He’s a what? BARRIE He’s a great Russian bear. So I am afraid he cannot be your horse. PETER This is absurd. Silence. Barrie stops, and turns, having not noticed little Peter come forward, standing and watching them from one side. BARRIE (intrigued) Hello. SYLVIA Peter, finally. PETER He isn’t a bear, or a horse. He’s just a dog. BARRIE (approaching him) “Just” a dog?? Now why would you shatter poor Porthos’ hopes like that? “Just” is the most pointless word in the English language. (MORE)

26/8/13 BARRIE (CONT'D) Because nothing is ever ‘just’ anything. Even in Kensington Gardens. MUSIC FOR “BELIEVE” ARRIVES. BARRIE (CONT’D) Especially, in Kensington Gardens, Peter...

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SONG: “BELIEVE” During which, the gardens turn into a Victorian circus, Barrie as Ring Master conjures Passers-by into tumblers and acrobats. BARRIE YOU SEE IT ALL AROUND US IN EVERY SINGLE COLOUR AND EVERY DIMENSION CROWNS THE REINVENTION AND IF IT IS BLACK THEN IT’S WHITE AND WHEN IT IS DARK THEN IT’S LIGHT SO FILL IN ALL THE SPACES WITH IMAGINARY PLACES IT’S SO FRUSTRATING WHEN NO ONE ELSE SEES, EVERYTHING YOU SEE, SO FOR NOW IT IS JUST AN ILLUSION, CONFUSION, UNLESS YOU’RE SOMEONE WHO BELIEVES WHEN YOU LOOK TELL ME WHAT DO YOU SEE PETER JUST A DOG IN A PARK. BARRIE IS IT REAL, IS IT FICTION ONLY MAKE BELIEVE YOU MAY THINK ITS JUST A PARK BENCH. PETER LOOK WITH YOUR EYES! BARRIE BUT LOOK WITH YOUR EYES IT’S A BIG CIRCUS TENT. BARRIE/ SOME CHORUS: FULL OF DANCERS AND CLOWNS AND TALL PEOPLE DRESSED BRIGHTLY THEY’RE PLAYING TO FULL HOUSES ONCE DAILY, TWICE NIGHTLY PRE FIX ‘ORDINARY’ WITH ‘EXTRA’ YOU’LL SEE BELIEVE BELIEVE BELIEVE! BARRIE (CONT’D) DON’T NEED ROSE-TINTED SPECTACLES

PETER A DOG, A BOOK, A BENCH, A BONE

BARRIE JUST TO SEE THE FUNDAMENTALS

PETER A TWIG, A STICK, A CAN, A STONE -

BARRIE ONLY SEE THE BRIGHT LIGHTS A CLOUDY SKY -

PETER

26/8/13 BARRIE THE SUNSET AND THE SUN RISE DON’T LIE!

PETER

BARRIE AND IF IT IS WEAK THEN IT’S STRONG PETER - IT’S NOT STRONG. BARRIE AND JUST WHEN IT’S RIGHT, THEN IT’S WRONG PETER - IT’S NOT WRONG. BARRIE AND EVERYTHING YOUR EYES SEE PETER EVERYTHING MY EYES SEE BARRIE IS NOTHING LIKE IT SHOULD BE... PETER IS ONLY LIKE IT SHOULD BE... BARRIE IT'S SO FRUSTRATING WHEN NO ONE ELSE SEES EVERYTHING YOU SEE SO FOR NOW IT IS JUST AN ILLUSION, CONFUSION UNLESS YOU'RE SOMEONE WHO BELIEVES WHEN YOU LOOK, TELL ME WHAT DO YOU SEE YOU CAN BELIEVE IS IT REAL

SYLVIA BARRIE

SYLVIA IS IT FICTION, ONLY MAKE BELIEVE BARRIE YOU MAY THINK IT’S JUST A PARK BENCH YOU MUST BELIEVE

SYLVIA

BARRIE BUT LOOK WITH YOUR EYES SYLVIA/ BARRIE IT’S A BIG CIRCUS TENT

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14A.

ALL BELIEVE BELIEVE BELIEVE MUSIC UNDERSCORES: Barrie approaches Porthos. BARRIE You see, Peter - the thing that most people don’t know about bears, is that when they stand on their hind legs with their paws in the air... they’re not attacking you. They’re asking you to dance. Porthos, after some consideration, stands on his hind legs, puts his pours on Barrie’s shoulders. BARRIE (CONT’D) Dance with me, Porthos. They begin to dance, as the circus world around them explodes into a visual climax. CHORUS WHEN YOU LOOK TELL ME WHAT DO YOU SEE YOU CAN BELIEVE

SYLVIA

26/8/13 ALL IS IT REAL OR A MYSTERY SCIENTIFICALLY IT’S MORE THAN A BENCH IN A PARK SYLVIA YOU MUST BELIEVE AH AH AH

CHORUS

BARRIE/ SYLVIA LOOK AGAIN, IT’S A ROCKET THAT’S HEADING FOR MARS ON A MISSION TO SEARCH FOR NEW LIFE WHEN WE’LL BE BACK, WHO KNOWS COS IT’S REALLY A LONG FLIGHT BARRIE/ SOME CHORUS: TURN THE WHOLE WORLD UPSIDE DOWN AND YOU’LL SEE BELIEVE BELIEVE BELIEVE BARRIE WITH JUST IMAGINATION AND CREATIVE SPECULATION OUR LIFE’S CALLING WAS NEVER MEANT TO BE BORING ALL (except Peter) BELIEVE, BELIEVE, BELIEVE, BELIEVE, BELIEVE, BELIEVE, BELIEVE, BELIEVE, BELIEVE.....

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The LLEWELYN DAVIES family clap, except Peter. GEORGE That was an excellent show, Mr. Barrie. JACK Imagine running away with the circus! MICHAEL I wish I was a Russian bear! Garh! SYLVIA Come along then, let’s leave Mr. Barrie in peace. A pleasure to meet you, perhaps we’ll see you again. BARRIE I’m in the park every afternoon. The family go off - Sylvia briefly looking back at Barrie. During this transition into the Duke of York’s Theatre, the ‘world’ of Kensington Gardens starts to get disassembled the flat at the back collapsing down, some STAGE CREW coming on the remove the bench.

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SCENE 2. DUKE OF YORK’S THEATRE The set from Barrie’s last play is being taken down - Frohman marshalling the process, signing forms and so on. ELLIOT, a stage manager, is carrying props. BARRIE (CONT’D) You’re taking the set down already? Oh, so it went that well. FROHMAN Yes, so well we thought we only needed to do it the once. (beat. Serious) I’m closing the show, James. Elliot passes by again, carrying an ornate standing lamp. ELLIOT Mr. Frohman, shall we keep this lamp in storage? FROHMAN I don’t know, Elliot - James? Will you need it for your next one; will there be a lamp in your next play? BARRIE I don’t have a next play. FROHMAN He doesn’t have a next play, Elliot; maybe just bash me over the head with it instead. BARRIE Why didn’t you tell me, Charles? You knew it wasn’t any good. FROHMAN Why didn’t you tell me, James. You knew it wasn’t any good. (beat. Warmer) Look. If we never failed big, we’d never win big. Let’s move on. I’m depending on you, James, I have a troupe of actors on contract and a theatre with no show. The band of said actors enter with their belongings having cleared their dressing rooms. MR HENSHAW - a grand thespian and young MISS POTTER. MR. HENSHAW Oh my dear Mr. Barrie, what a cruel mistress the theatre is! (MORE)

26/8/13 MR. HENSHAW (CONT'D) Of course if you’d only written me a bigger, meatier role I might have been able to save it for you, but alas... MISS POTTER It wasn’t our fault, was it Mr. Barrie, we didn’t do it wrong -? Frohman ushers the actors away. FROHMAN It was no one’s fault, just onwards to the next one. Which - remind me James, it’s going to be a thriller, right? BARRIE No, I can’t stand thrillers, all that gasping and screaming FROHMAN So a comedy, then BARRIE No, that’s even worse, the way English audiences laugh out loud so grotesquely. The Germans don’t laugh in the theatre, the French don’t laugh in the theatre FROHMAN James, the French don’t laugh anywhere... Listen. You’re my oldest friend Charles -

BARRIE

FROHMAN - but if you can’t deliver me what I need, then I’ll have to get another writer to write my plays.

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SONG: “BETTER BEGINS. FROHMAN (CONT’D) 12 MONTHS, 16 DAYS, 20 HOURS I HAD WAITED FOR YOU TO WRITE THIS GHASTLY PLAY, THAT EVERY BODY HATED IT USED TO BE A JOY TO WATCH YOUR WORDS COME TO LIFE BUT LAST NIGHT FELT MORE LIKE A RITUAL SACRIFICE IF I HAD ANY SENSE, THEN I WOULD RUN A MILE BUT GIVING UP IS JUST NOT MY STYLE YOU OWE ME MR BARRIE, I INTEND TO GET MY PAYMENT A NEW SHOW MR BARRIE OR WE'RE BOTH OUT ON THE PAVEMENT SOMETHING THAT WILL HAVE THEM ROLLING IN THE AISLES I'D EVEN SETTLE FOR SOME TEARS INSTEAD OF SMILES IT HURT ME DEEP INSIDE TO WATCH THEM SCRUTINIZE POINT AND SCOFF, LAUGH AND CRITICISE… BUT... I KNOW YOU BETTER, THEN YOU KNOW YOURSELF I KNOW YOU'RE BETTER THAN ANYBODY ELSE YOU'VE ALWAYS BEEN RESPONSIBLE AND NEVER LET ME DOWN YOU'VE SOLD ME DOWN THE RIVER, BUT YOU'VE NEVER LET ME DROWN I KNOW YOU'RE BETTER, A SHINING INSPIRATION A GO-GETTER, SO SHOW SOME DEDICATION I'M NOT ASKING FOR A MIRACLE JUST DO THAT THING YOU DO ALL I ASK OF YOU IS TO BE BETTER… BARRIE Oh but what’s the point, Charles? FROHMAN Your work matters, James. You create alternate worlds that help us better understand our own. And you will again. LAST NIGHT I HAD A DREAM WE GOT A STANDING OVATION THE AUDIENCE WERE JUMPING, CLAPPING, SCREAMING WITH ELATION I FINALLY AWOKE ONLY TO REALISE I NEVER SHOULD TURN OUT THE LIGHT AND CLOSE MY EYES THE REALITY IS WE, ARE CLOSE TO BANKRUPTCY UNLESS YOU CAN DELIVER ONE TO ME… HOWEVER... I KNOW YOU BETTER, THEN YOU KNOW YOURSELF I KNOW YOU'RE BETTER THAN ANYBODY ELSE YOU'VE ALWAYS BEEN RESPONSIBLE AND NEVER LET ME DOWN YOU'VE SOLD ME DOWN THE RIVER, BUT YOU'VE NEVER LET ME DROWN I KNOW YOU'RE BETTER, A SHINING INSPIRATION A GO-GETTER, SO SHOW SOME DEDICATION (MORE)

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FROHMAN (CONT'D) I'M NOT ASKING FOR A MIRACLE JUST DO THAT THING YOU DO ALL I ASK OF YOU IS TO BE BETTER… FROHMAN (CONT’D) So come on, James. I need a play within the month. The clock is ticking, tick tock tick tock... He taps his cane on the stage, imitating the sound of a clock ticking - the sound growing unnaturally loud in Barrie’s head echoing around the space... THE SONG ENDS.

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SCENE 3. THE BARRIE’S HOUSE A grandfather clock ticks loudly. SERVANTS polish silverware in the shadows. There is EMILY, a young Maid - MAGGIE, a senior cook - ARTHUR, a butler... Barrie arrives home, meeting Mary the other way. MARY James, look at the time, you missed supper. BARRIE Mary? Oh, I’m so sorry, I was just at the theatre. They’re closing the play. Frohman expects me to deliver a masterpiece as soon as possible MARY Well Frohman is right. We can’t afford for you to not have a play on, James. I’ll bring some supper up to your study BARRIE No I can’t work in there, it holds no spark, no magic any more. MARY You don’t need magic, James, you need peace and quiet. BARRIE I just want to be outside, in the park. Perhaps... you could come with me tomorrow? Together? MARY The ‘park’? I - I don’t think so, James. There’s so much to do in running the house. BARRIE I met the most fascinating family there today. A troupe of four young boys and their mother. They were playing a game, I joined in. MARY Well it sounds terribly distracting. Who was she? BARRIE Uh, ‘Sylvia’, I believe. ‘Llewelyn Davies’.

26/8/13 MARY Llewelyn Davies? Really? Isn’t her mother Mrs Du Maurier? She knows anyone worth knowing. Oh James, we should invite them here to dinner some time. Really?

BARRIE

MARY I hear her daughter Sylvia is very pretty. Barrie doesn’t say anything. Servants polish harder. MARY (CONT’D) Quite awful, what happened though. BARRIE ... What happened? MARY Her husband. Died, frightfully young. Some sort of disease. Cancer of the throat. Quite horrid. BARRIE That’s terrible. MARY Left her with no income. Imagine, raising four boys all by yourself. BARRIE She seemed to be managing fine. Maid EMILY comes forward, meekly. MAID The bed linen’s all changed in the master bedroom, Mrs. Barrie. Thank you.

MARY

MAID And ... the guest bedroom, Mister Barrie. Beat, as Emily slinks away. BARRIE Well. I’d better get to work. MARY Yes. Very good. She retires, as Barrie slinks into:

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Barrie’s study. A dusty library of books and a desk. MUSIC FROM “WHAT YOU MEAN TO ME” UNDERSCORES: BARRIE Dear Ms Llewelyn-Davies. I hope you don't find my writing presumptuous. I've never been particularly good at observing appropriate social etiquette. For months I have felt lost in a fog but today in the park, it's as though, miraculously... that fog has lifted. And even though everything looks topsy-turvy, it’s something of a relief. I should so like to see you all again... Mary comes in. MARY It’s late. I’m going to bed. BARRIE (standing) Yes. Right. Me too. In the corridor, Mary goes to turn left, and Barrie right. MARY Good night. BARRIE Good night. Mary opens a door into her bedroom, Barrie into his - only through his door is in fact the outside, nature... Barrie steps through, into:

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SCENE 4. KENSINGTON GARDENS Barrie is sat on the bench. As the lights swell out, we discover Peter standing there. BARRIE (CONT’D) Oh, hello Peter. Where’s your mother? Peter hands Barrie a letter. PETER Here. Mother is under the weather with a chest cold but she wanted me to deliver you this. And to tell you that you’re welcome to visit us some time, if you’d like. BARRIE (taking the letter) Oh. Well, thank you. And thank you for being the one to deliver it to me, Peter. PETER It was mother’s idea. I was perfectly happy at home on my own. BARRIE Well. Thank you, anyway. Beat. PETER What were you writing? BARRIE Oh, nothing of any consequence. PETER Well then what’s the point? BARRIE I write so that I can make sense of things. PETER I couldn’t do that. BARRIE Well where do you keep your thoughts when they pour out of your head? Do you just let them trickle away? Gone forever? Peter shrugs and offers Porthos a stick.

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25.

PETER Here, Porthos. BARRIE It’s more fun for him if you throw the stick. PETER It isn’t a stick. It’s a fish. Bears eat fish. Porthos takes the stick, Peter pats him briefly, and runs off. Barrie opens the letter ... And we transition into: THE LLEWELYN DAVIES HOUSE Sylvia is reading from her reply in the back garden. SYLVIA Dear Mr. Barrie. What a lovely surprise - my own letter from one of England's most renowned authors. Since our encounter, George has been trying to train a squirrel to dance, Jack trying to juggle, and Michael goes about wiggling his ears like a madman. And Peter... well, Peter watches them. With a smile. I think... I personally adore parks, and gardens. Not ones that have been cultivated, or tamed. But ones that maintain a certain... wildness, and freedom to them. I often feel as though everything is topsy-turvy, upside down, and inside out. What a relief to know that someone else does as well... Yours, Sylvia Llewelyn Davies. THE MUSIC FOR ‘BELIEVE’ UNDERSCORES the transition into:

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SCENE 5. THE LLEWELYN DAVIES HOUSE. BACK GARDEN. The boys are running into the garden where Sylvia is hanging some laundry. They drag Barrie behind them, who drags Porthos behind him. MICHAEL (leading him) Come and play with us, Mr. Barrie! BOYS Mr. Barrie! Mr. Barrie! BARRIE Miss Llewellyn Davies, I’m so sorry to barge in, I just wanted to see if you were feeling better. SYLVIA Oh, yes, much better. Thank you. Goodness, I’m so appalled, a famous author in our house that looks like a tornado has been staying over, and the lawn needs cutting, and the weeds! GEORGE It isn’t a lawn. (smiling at Barrie) Is it, Mr. Barrie. It’s the ‘frontier’. BARRIE (intrigued) ... is it now? SONG: “BIG ADVENTURE” BEGINS.

26/8/13 SONG: “BIG ADVENTURE” BEGINS. GEORGE HERE IN THE YARD I CAN BE ALMOST ANYTHING A PIRATE A SOLDIER

JACK GEORGE

MICHAEL COWBOYS AND INDIANS!! BOYS (except Peter) ALL WE NEED, IS LAUGHTER AND THE AIR WE BREATHE. GEORGE SPREAD OUT MY ARMS JACK LIKE A BIRD MICHAEL LIKE AN AEROPLANE! BARRIE ONE LEAP OF FAITH, AND YOU’LL NEVER LOOK BACK AGAIN. SYLVIA SAFE AND SOUND, NEVER GONNA HIT THE GROUND. BARRIE AND TAKE A CHANCE SYLVIA AN INVITATION TO A LIFELONG DANCE BARRIE/ SYLVIA AND IF YOU LEAD THE WAY WE PROMISE YOU WILL FIND, WE’RE JUST A STEP BEHIND COS ALL OH OH OH OH OH LIFE CAN BE ONE BIG ADVENTURE NOW’S THE TIME, FORGET TOMORROW LET’S START TO LIVE LIFE’S BIG ADVENTURE The Barrie’s House: Elliot has called round, Mary has greeted him.

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28.

MARY He isn’t here. ELLIOT Oh? Mr. Frohman was hoping for an update on progress. MARY I believe you will find him either in the park, or... (reluctantly, writing it down for him) ... at this address. Some new acquaintances of his.

The Llewelyn Davies Home: Barrie and the boys are fully dressed up as Native Americans and Cowboys, engaged in a battle. Sylvia leads Elliot into the garden. Barrie sees him and waves, but continues playing. Elliot goes, as Sylvia joins: GEORGE I want to be the Sheriff of the town, charged with keeping the peace! JACK That’s boring! I want to be the Indian in the wild. GEORGE Prepare to answer to the law! JACK Prepare to be butchered like a pig! Jack!

SYLVIA

BOYS (singing - as Indians) “OOO-OOOHH-OOOHHH”

The Theatre: Elliot and Frohman. FROHMAN Cowboys and Indians?

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ELLIOT Yes sir, looks to me like an American Western. BOYS (singing - as Indians) “OOO-OOOHH-OOOHHH” FROHMAN (gasps, excited) I’ve been in the market for one of those for years. Great news! He’s back! The Llewelyn Davies home: Now Barrie, Sylvia and the boys are playing ‘ghost and ghouls’ - Sylvia is sewing and darning some old clothes and pillow cases, putting them over the boys shoulders and heads. THE BOYS SING THE SECOND VERSE. BOYS JUST CLOSE YOUR EYES, COUNT TO TEN, OPEN THEM AGAIN, LOOK YOU CAN SEE, THERE’S A WORLD WAITING TO BEGIN, JUST FOR US, AND IT’S ALRIGHT BECAUSE, GEORGE WE’RE ON OUR OWN JACK WE CAN STAY OUT TILL NINE OR TEN

JACK/ MICHAEL

JACK/ MICHAEL (CONT’D) IF WE GET LOST JACK/ MICHAEL/ PETER WE CAN ALWAYS BE FOUND AGAIN GEORGE/ PETER WE STAND TALL JACK/ MICHAEL/ PETER/ GEORGE IT’S ALL FOR ONE AND ONE FOR ALL SYLVIA AND NEVER FEAR, ‘COS WE’RE ALWAYS GONNA BE RIGHT HERE

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30.

BARRIE AND IF LIFE IS A PLAY THEN WE HAVE JUST BEGUN, IT’S STILL ACT ONE COS ALL OH OH OH OH OH LIFE CAN BE ONE BIG ADVENTURE NOW’S THE TIME, FORGET TOMORROW LET’S START TO LIVE LIFE’S BIG ADVENTURE

The Llewelyn Davies Home: Barrie, Sylvia and the boys are now ‘explorers’, cutting their way through jungles and forest. GEORGE Careful, don’t step on that tiger lily. SYLVIA Oh it’s so pretty. BARRIE We are intrepid explorers, treading where no human feet have trodden before, and we must respect nature. GEORGE We need to be following the map. JACK Forget the map, I can find my way with my instincts. GEORGE We have to head south. JACK Which way is south? MICHAEL You nincompoop, Jack! Everyone knows that South is THAT WAY ALL (singing) “OOO-OOOHH-OOOHHH” He points down at the ground. His brothers roll their eyes. The Theatre: Elliot with Frohman.

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31.

FROHMAN Explorers? Last week it was Cowboys and Indians. Oh. So maybe it’s some sort of ‘Jungle... Western’. Must be.

ELLIOT

FROHMAN Well... that might work.

Barrie sees the garden pond. BARRIE Look, a swamp. Who knows what creature may lurk inside. A growl comes from the pond as it grows darker. Bubbles rise to the surface. BARRIE (CONT’D) I think ... it’s a crocodile. In the shadows of the grass and the pond reeds, a long slick tail slides by... JACK I saw it’s tail! SYLVIA It could have been a Mermaid. MICHAEL What’s a mermaid? SYLVIA Mermaids have the body of beautiful women on top, but the tail of a fish underneath. And their voices lure sailors to the deaths, haha!! She tickles them and they squeal. Barrie upturns a wash tub and stands on it. BARRIE Quick, onto the raft, we must escape down the mighty Amazon! George, Michael and Jack join him. But Peter removes his hat. PETER Oh now that’s taking the biscuit. JACK Push him over board!

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No!

32.

BARRIE

GEORGE Look, we’re heading toward a waterfall!! ALL (singing - on the rapids) OH OH OH OH OH LIFE CAN BE ONE BIG ADVENTURE OH OH OH OH OH LIFE CAN BE ONE BIG ADVENTURE The Barrie House: Mary sits alone, staring out the window, the clock ticking.

The Theatre: Elliot joins Frohman. ELLIOT It... it’s kind of like... it’s developed into a mix between FROHMAN I don’t wanna know. ELLIOT Very good. (he goes) The Llewelyn Davies Home: BARRIE TAKE A CHANCE AN INVITATION TO A LIFELONG DANCE AND IF LIFE IS A PLAY THEN WE HAVE JUST BEGUN IT’S STILL ACT ONE JACK The Indians are back! And they’ve kidnapped Peter! PETER There are no Indians in the Amazon. BARRIE Of course there are!

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33.

GEORGE Hand the boy back to us, Indian! BARRIE I kidnapped no one! He joins our tribe willingly! (to Peter) I will teach you the ways of the brave, and take you as my own son PETER You’re not my father. He walks away from Barrie THE MUSIC CUTS OUT. Peter -

SYLVIA

Peter is storming off, as his brothers try to stop him. JACK He’s escaping, let’s get him! PETER Let go of me! JACK Why do you have to ruin everything? GEORGE Little Hamlet, moping around all day, unable to have any fun The boys start to fight - and Barrie recoils back from this , not knowing what to do. Sylvia on the other hand gets right in there and pulls them apart. SYLVIA Stop that! You mustn’t fight each other! Jack, let go off him. Peter! PETER I didn’t do anything! SYLVIA Listen to me. (beat. Calmer) I know you miss your father... We all do. But remember what you all promised me. You’ll stand together. Get through this together. Yes? Go on, go inside. They all run into the house.

26/8/13

I’m sorry.

BARRIE

SYLVIA It wasn’t your fault. To be honest, I’m just pleased to see him joining in. He’s been so contained since his father... I don’t think he’s even had a good old cry. BARRIE Has he always been like that? SYLVIA Peter? Heavens, no. He used to be the silliest of the lot. BARRIE I fear I’m making it worse. SYLVIA No, really. You’re doing him good. All of us good. Please keep coming. BARRIE Well perhaps I could return your hospitalities. My wife is planning a dinner and she would love for you and your family to join us. SYLVIA Oh. Well that would be lovely, to see where you live... They’re looking at one another, when -MADAME DU MAURIER And what’s been happening here?

34.

26/8/13 MADAME DU MAURIER, conservatively dressed and fiercely upright, comes out from the house. SYLVIA Oh, mother? Well. We’ve been very busy. Sailing the oceans, and exploring deepest darkest Africa. BARRIE Hello. I’m MADAME DU MAURIER Mr. Barrie. Yes. I hear you’ve become ‘playmates’ with my grandchildren. Good heaven’s Sylvia, you aren’t wearing any shoes?! SYLVIA Well, no, it’s far easier to run away from Indians with no shoes on. MADAME DU MAURIER Run awa-?! It’s no wonder you look so flushed. And you’re out of breath. Mr. Barrie, perhaps that’s enough for one day? BARRIE Yes, of course. Barrie returns into the house. MADAME DU MAURIER So it’s true what they’re saying. SYLVIA I neither care who ‘they’ are nor ‘what’ they are saying. MADAME DU MAURIER A married man? SYLVIA He’s a friend, mother. Arthur is gone, and I can’t stay in mourning forever MADAME DU MAURIER Precisely. You don’t need a friend. You need a husband. Someone secure who can look after you SYLVIA Gosh sounds so exciting mother, ‘secure’ -

35.

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36.

MADAME DU MAURIER I just think that your friendship with “J. M Barrie” is... unnecessary. SYLVIA Mother. We have fun. MADAME DU MAURIER And what good will fun do? SYLVIA You and father used to laugh all the time, you were positively wild in your younger days. MADAME DU MAURIER That was different. (sheepishly) It was the sixties... SYLVIA (going to her) Remember how father would take us to see shows, and then we’d dance all night to Gypsy Music in the street. And didn’t care what people thought... MUSICAL INTRO FOR: “HE MAKES ME SMILE” BEGINS. Madame du Maurier, momentarily, smiles at the memory... and then snaps out of it. MADAME DU MAURIER I just expected so much for you, in your life. Mother...

SYLVIA

26/8/13 SONG: “HE MAKES ME SMILE” SYLVIA (CONT’D) IF MY LIFE HAD BEEN ALL I EXPECTED I WOULD NOT HAVE TO SCRIMP TO SURVIVE ALL MY BOYS WOULD BE WELL DRESSED WEARING BURBERRY’S BEST SINCE MY HUSBAND WOULD STILL BE ALIVE Sylvia...

MADAME DU MAURIER

SYLVIA WE’D HAVE SERVANTS TO POLISH THE SILVER I SHOULD NOT HAVE EXPECTED TO PAWN WE WOULD DINE ON FIGS AND DATES HAVE A BUTLER CLEAR OUR PLATES AND A GARDENER TO ATTEND TO THE LAWN I EXPECT EXPECTATIONS LIFE MAY RAISE ARE AS FICTIONAL AS MISTER BARRIE’S PLAYS MADAME DU MAURIER I don’t know what you see in him. SYLVIA HE MAKES ME SMILE. QUITE IMPROBABLE AS IT SEEMS I HAVE FEATURES ON MY FACE ABOVE MY CHIN WHICH STILL CAN REPLACE A FROWN WITH A GRIN HIS EYES BEGUILE AND WITHIN THEM I SEE THE MAN AND DREAM THE DREAMS HE DREAMS MADAME DU MAURIER This man is blinding you. SYLVIA I AM FINDING MY DAYS ARE NOW BRIGHTER WITH EXCITEMENT THAT I CAN’T IGNORE IF THERE’S MAGIC IN THE AIR IF A DOG CAN BE A BEAR THEN I KNOW I CAN BE LIKE BEFORE MADAME DU MAURIER Like what? A child?

37.

26/8/13 SYLVIA I’D FORGOTTEN THE SOUND OF MY LAUGHTER OR THE WAY THE BOYS BURST IN A ROOM WITH HIS STORIES AND HIS PEN THIS HOUSE COMES TO LIFE AGAIN AND I’M HUMMING ALONG EVERY TUNE A NEW SENSE OF ADVENTURE TO UNFOLD I’M SO TIRED OF MY LIFE BEING ON HOLD MADAME DU MAURIER But what can he give you? SYLVIA HE MAKES ME SMILE AND I’M NOT SO AT SEA ANY MORE. HIS IMAGINATION I CAN SEE RIGHT THROUGH A WINDOW TO LIFE WITH A BEAUTIFUL VIEW I’LL STAY A WHILE AND BE WITH HIM AND BE HIS FRIEND AND DREAM THE DREAMS HE DREAMS LIKE THE PEAL OF A CHIME IN THE BREEZE OR A SUNBEAM THAT STEALS THROUGH THE DRAPERIES HE SHAKES THE DUST FROM THIS MORIBUND HOME WE PLAY PIRATES AND SAIL ON TO CONQUER EACH THRONE IF WE’RE CAPTURED OR LOST, WE’RE NOT ALONE IT’S ALL WORTHWHILE TO DISCOVER NEW PLACES NEVER KNOWN WHEN HE MAKES ME SMILE I CHERISH THE TREASURES I OWN MADAME DU MAURIER He also happens to be married. SYLVIA I know that. Isn’t it possible for a man and a woman to be just friends? MADAME DU MAURIER Not in any world I know. Can’t you find a well-off, eligible gentlemanSYLVIA And what would you have me do, advertise in The Times, and let all of London know how desperate I am. MADAME DU MAURIER Believe me, all London knows how desperate you are. THE MUSIC WAVERS MOMENTARILY This stings Sylvia, and Madam Du Maurier regrets it. She kisses her daughter, and goes.

38.

26/8/13 MADAME DU MAURIER (CONT’D) Good night... SYLVIA WHY CAN’T A WOMAN WHO KNOWS HER OWN MIND BE BEST FRIENDS WITH A MAN WHO HAS ONLY BEEN KIND NOW MY BOYS LAUGH AGAIN WITHOUT LOOKING BEHIND AND I DON’T CARE IF ALL OF LONDON PUTS MY LIFE ON TRIAL I FEEL MORE ALIVE ALL BECAUSE HE MAKES ME SMILE

39.

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40.

SCENE 6. THE BARRIE’S HOUSE MUSIC: “WE OWN THE NIGHT” UNDERSCORES: A high society dinner! Sylvia, Madame Du Maurier, the boys, Frohman, GILBERT CANON, the BUCHANAN and SINCLAIRS. SINCLAIR Terribly kind to invite us, Mary. MRS BUCHANON Darling the table looks splendid. BUCHANAN It must have taken you all day. SYLVIA (to the boys) Now try to behave tonight, we want to impress James’s friends with how grown up we can be, don’t we. GEORGE I’ll keep an eye on them, mother. BARRIE Mary, I’d like to present my friend. Sylvia, meet my wife. MARY It’s such a pleasure to meet you. SYLVIA Likewise. Gosh you’re so.. elegant. MARY Madame Du Maurier, a pleasure. MADAME DU MAURIER The pleasure is all mine. FROHMAN James and Mary, may I present, My friend Mister Gilbert Canon. MARY I know you by reputation of course. CANON And I by yours, of course. FROHMAN Of course. Gilbert campaigns against stage censorship. Very important. SERVANT Ladies and Gentlemen, Please take your seats.

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41.

SONG: “WE OWN THE NIGHT” The following patter is heavily underscored to the chamberlike score...

PLEASE

MARY

SINCLAIR WHERE ARE YOU PLANNING ON TAKING A HOLIDAY? SIT

MARY

BUCHANAN I’LL THINK OF THAT IN THE SPRING FROHMAN WELL, I’M BACK FROM MILAN BUCHANAN SEE THE OPERA? FROHMAN DISASTROUS PREMIER SINCLAIR YES PUCCINI HAS NEVER BEEN WORSE! SERVANT FIRST COURSE MARY MRS. DU MAURIER SYLVIA MICHAEL, SIT STILL HM?

MADAME DU MAURIER

MARY YOUR CHARITY WORK I ADMIRE JACK THERE ARE SO MANY FORKS JACK.

SYLVIA

MADAME DU MAURIER THANK YOU, MRS BARRIE JAMES?

BUCHANAN

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42.

BARRIE ONE’S FOR THE FISH, ONE’S FOR THE PORK MICHAEL

SYLVIA

MARY CHARITY WORK I’M VERY INTERESTED IN MADAME DU MAURIER WELL IT ISN’T A HOBBY MARY OH, OF COURSE I ONLY MEANT MADAME DU MAURIER IT TAKES TIME GEORGE WHAT AM I SUPPOSED TO DO MADAME DU MAURIER ALL OF MY TIME THIS SOUP

CANON

GEORGE - WITH THESE SPOONS CANON MARY, IT’S SUBLIME MARY THAT’S A GOOD BOY BOYS! BOYS

MADAME DU MAURIER SYLVIA

BARRIE I’LL TEACH THEM JAMES

FROHMAN

BARRIE BOYS DO THIS! He is breathing on his spoon and placing it upon his nose, amongst other things-I SAY

SINCLAIR

26/8/13

AND THIS NOW BARRIE

43.

BARRIE BUCHANAN

BARRIE THIS! HOW’ BOUT THIS?! JAMES

MARY

THE CHAMBER UNDERSCORE SOFTENS MOMENTARILY. Beat. Barrie takes the spoon from his nose. Peter is using the shiny knife to reflect the candle light onto the wall. PETER Look Michael, it’s so shiny you can bounce the light off it. See there? The light reflection moves across the wall as Peter tilts the knife, and into the eyes of SINCLAIR. MARY Please don’t do that, young man. MADAME DU MAURIER Peter! I’m terribly sorry, the boys aren’t used to a proper dinner at the table. SYLVIA Mother, please MADAME DU MAURIER Perhaps if my daughter let me help out a little more, then they would be more well-behaved, but Barrie jumps to Peter’s defense... BARRIE Actually Peter isn’t doing anything wrong. For you see that light bouncing around the room, is in fact -- a fairy. The boys giggles. Sylvia smiles. Mary scowls at Barrie. MARY Is that so?

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44.

BARRIE (standing) Yes, she must have flown in and got trapped by mistake. Here. He goes to Sinclair and gently scoops his hand over the guest’s forehead, clasping his hand gently around the light. Peter gets the game, and stops. The light disappears. BARRIE (CONT’D) There. And I’ll put it gently in my pocket. Where she’ll be safe. He sits. A disquieting murmur and shuffle amongst the other guests - Mary tries not to get rattled. MARY Please forgive my husband, he’s working on a new play. And he’s looking for inspiration anywhere he can. Even at the dinner table. Please She indicates they should continues eating. THE MUSIC FOR “WE OWN THE NIGHT” RETURNS AT FULL THROTTLE BUCHANAN RIGHT. HAS ANYONE READ THE LATEST CONAN DOYLE? GHASTLY

MRS SINCLAIR

SINCLAIR DO YOU THINK SO? FROHMAN I THOUGHT IT GREAT MADAME DU MAURIER JACK SIT UP STRAIGHT BARRIE HE’S TIRED THAT’S ALL MADAME DU MAURIER FROM NO HARD TOIL MRS BUCHANAN I PREFER DICKENS TO CONAN DOYLE. JACK

SYLVIA

CANON MARY IT’S A SKILL THIS FINE SOIREE

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45.

MARY THAT’S KIND OF YOU TO SAY MRS BUCHANAN OF COURSE WE’RE ON THE BOARD OF THE ROYAL BALLET The music is quickening, the clock ticking louder, faster Barrie claps his hands together --- and the world freezes, the lights change, the clocks stop. BARRIE Oh - thank - GOODNESS! To silence the infernal ticking of that awful clock! And the inane chatter of these insufferable guests!! Walking around the table - everyone frozen. BARRIE (CONT’D) Not you boys, of course. Or Sylvia. He faces Sinclair, moving in close to him. BARRIE (CONT’D) Mister “I have never said anything or been nice to anyone ever”. He blows a raspberry in Sinclair’s face. BARRIE (CONT’D) Here, have some peas. He tips some peas over Mr. Sinclair’s head. BARRIE (CONT’D) Would you like some carrots? He sticks carrots in Mr. Sinclair’s ears. There!

BARRIE (CONT’D)

He sits back down and claps his hands - the world unfreezes. SINCLAIR Oh I say! One of your clumsy maids must have spilt a plate of food all over me! MARY My goodness! Emily, a towel! Barrie claps his hands again - the world freezes. He laughs out loud and goes to Buchanan now.

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46.

BARRIE Oh and what about you Mr. Buchanan? Look, your glasses have fallen off. He places pineapple rings over Mr. Buchanan’s eyes. BARRIE (CONT’D) There. He looks so much better, doesn’t he? Yes -

PETER

BARRIE (jumping -) AHHHH! Barrie almost leaps out of his skin when Peter talks, unfrozen like the others. BARRIE (CONT’D) What are you doing in my imagination? PETER I’m not in your imagination, you’re in my imagination. BARRIE No, you’re in PETER How do we wake up the others? BARRIE Erm. Oh, I know. Barrie takes a little servant bell and the bowl of sugar. BARRIE (CONT’D) The tinkling of a fairy’s wings, and the magic from some pixie dust. He and Peter move around, ringing the bell and tossing sugar over their brothers, as Michael, Jack and George unfreeze and join them. Sylvia is the last to be ‘unfrozen’. SYLVIA Oh my, what are we doing? BARRIE We’re having our own party.

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47.

BARRIE SINGS “WE OWN THE NIGHT” BARRIE WELCOME TO ALL, GLAD YOU COULD JOIN US IN THIS OPULENT AFFAIR I PRAY YOU’LL ENJOY THE FOOD, OUR CHEF EXUDES A CONTINENTAL FLAIR. THE LADIES ENJOY THE SOCIALITE NEWS MISTER SINCLAIR SEEMS DAZED AND CONFUSED He claps his hands, and he and the boys dive - under the table, where they use the legs of the guests to play with, pretending they are violins or cellos. BARRIE BUT THERE’S A PARTY IN A SECRET LOCATION ALL YOU NEED IS A GOOD IMAGINATION WE’LL BE UNDER THEIR NOSES BUT WE’RE JUST OUT OF SIGHT PERMISSION TO BE NAUGHTY IS OUR GOD GIVEN RIGHT. OH HOW I LOVE THIS MADNESS, SO ENTERTAINING WE’LL BE FEELING GLADNESS, THEY’LL BE COMPLAINING WE’LL BE RIGHT UNDER THEIR NOSES BUT WE’RE JUST OUT OF SIGHT Barrie lifts the dress of one dress to reveal a crocodile tail curling out from underneath it. BARRIE I’M SURE THERE’LL BE A PRICE TO PAY BUT TILL THEN WE OWN THE NIGHT. Barrie leaps up onto the table! They all leap up onto the table and begin playing pirates, stealing items of clothing and jewelry from the guests. Michael puts on a top hat and monocle - looking very much like the future character of ‘Michael’ from Pan. Barrie, the boys and Sylvia have a food fight - brightly coloured, glowing food that splatters the room in paint.

BARRIE/ SYLVIA ALL JUMP ABOARD THIS SHIP IS LEAVING AND WE’RE SAILING ROUND THE WORLD

ARRR

GEORGE

26/8/13

ARRR ARRR YOU KNOW MY NAME A HOY!

48.

PETER MICHAEL BARRIE/ SYLVIA JACK

BARRIE/ SYLVIA THEY FEAR ME WHEN MY SKULL AND CROSS FLAG IS UNFURLED YOUR NECKLACE MADAME

PETER/ GEORGE BARRIE/ SYLVIA/ PETER

PETER/ GEORGE AND LEST WE FORGET

AH-HAH!

JACK

BARRIE/ SYLVIA/ BOYS YOUR RINGS AND YOUR BRACELET MAKE A BEAUTIFUL SET OH THERE’S A PARTY IN A SECRET LOCATION ALL YOU NEED IS A GOOD IMAGINATION WE’LL BE UNDER THEIR NOSES BUT WE’RE JUST OUT OF SIGHT PERMISSION TO BE NAUGHTY IS OUR GOD GIVEN RIGHT OH HOW I LOVE THIS MADNESS SO ENTERTAINING WE’LL BE FEELING GLADNESS THEY’LL BE COMPLAINING WE’LL BE UNDER THEIR NOSES BUT WE’RE JUST OUT OF SIGHT I’M SURE THERE’LL BE A PRICE TO PAY BUT TILL THEN WE OWN THE NIGHT SYLVIA WE COMPLIMENT THE CENTRE PIECE THE DECOR AND THE WINE BARRIE I LOST COUNT OF THE COURSES BACK AT EIGHT OR MAYBE NINE SYLVIA/ JACK THE WEIGHT OF ALL THIS CUTLERY COULD SINK A SHIP AT SEA BARRIE/ JACK I DON’T THINK I CAN TAKE MORE OF THIS POMP AND PAGEANTRY.

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49.

Barrie claps and the guests unfreeze. GUESTS THIS SOUP IS DIVINE ESCARGOT

BARRIE/ SYLVIA/ BOYS LA LA LA

MARY/ SERVANT

BARRIE/ SYLVIA/ BOYS LA LA LA

GUESTS PERFECT WITH FRENCH WINE BORDEAUX CONFECTION PERFECTION

MARY/ SERVANT GUESTS

GUESTS/ MARY/ SERVANT CREAM FIGS ROE

BARRIE/ SYLVIA/ BOYS LA LA LA

GUESTS (CONT’D) BOREDOM AND UNEASE WELL-BRED PLEASANTRIES

BARRIE/ SYLVIA/ BOYS LA LA LA

GUESTS (CONT’D) WHAT IS IT? EXQUISITE

BARRIE/ SYLVIA/ BOYS LA LA LA

BARRIE/ SYLVIA/ BOYS I’M SURE THERE’LL BE A PRICE TO PAY GUESTS I’M SURE THERE’LL BE A PRICE TO PAY BARRIE BUT TILL THEN WE OWN THE NIGHT!

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50.

As the song ends, Barrie claps his hands, the world snaps to normal and he and the boys dive into their seats. The BUCHANANS and the SINCLAIRS are on their feet - preparing to leave now that the meal is over and only slightly trying to disguise their disdain. MARY We’ll be serving brandy in the drawing room, if SINCLAIR Actually, I think it’s time we should be leaving. Thank you for what was - uh, quite an evening. BUCHANAN Memorable. Certainly. MARY Really? Well... if you’re sure. Mary feels the sting of rejection, as they bid their guests goodbye, Sylvia and the boys included. Barrie pulls Peter to one side. BARRIE Peter. I have something for you. He produces a leather-bound journal and gives it to Peter. BARRIE (CONT’D) You know you told me you couldn’t write? Well. All the best writers begin with a good leather binding and a respectable title. The rest takes care of itself.

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51.

PETER (reading the cover) “The Boys Castaway, Being a Record of the Terrible Adventures of the Brothers Davies, Faithfully Set Forth by Peter Llewelyn Davies.” ... I don’t know what to say. BARRIE Just say that you’ll write. Write about your family. About your friends. About the talking whale. PETER What whale? BARRIE The whale inside your head, screaming to get. Peter?

MADAME DU MAURIER

Peter joins Sylvia, Madame Du Maurier, and the boys on one side of the dining room, getting ready with their coats Mary and Barrie find themselves on the other. MARY (to Barrie) Well. That was the most shocking dinner party I have ever seen. The boys are jumping up and down excited, their side. BOYS (to Sylvia) That was the most shocking dinner party I have ever seen! MADAME DU MAURIER Yes, well I hope that you’re happy. BARRIE (to Mary) The boys and Sylvia had more fun than they’ve had in ages. Especially, Peter. He’s taken too much of the world on his shoulders, he’s a boy acting like a grown-up. MADAME DU MAURIER (to Sylvia) That man is a grown-up behaving like a boy.

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52.

MARY (to Barrie) Forming an alliance with those boys and that woman when all I was trying to do was, was -- impress you. And make you proud of me. (this lands.) Well, what a fool I was. BARRIE ... Mary, I’m sorry. I did not mean to upset you. MADAME DU MAURIER (to Sylvia) When was the last time the boys had any discipline? Went to bed at a reasonable hour? It’s no wonder they ran amock! JACK That isn’t fair Be quiet.

MADAME DU MAURIER

Madame Du Maurier has a coat hanger in her hand as she dresses Jack in his coat. MADAME DU MAURIER (CONT’D) Little boys should be seen and not heard. As she gestures with it, it looks like a hook on her hand, the silhouette of which catches against the wall, and Barrie notices ... MARY You know, James, for the past few weeks it’s sometimes felt like I don’t even know you. BARRIE Well you know, Mary, for the past few years, it’s sometimes felt like I’ve not been allowed to be me. In my home, where I’m so frightened I’ll knock something or spill something or say the wrong thing at the dinner table. That stung her - she bristles, defensively. MADAME DU MAURIER Perhaps I should go home with you -

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53.

SYLVIA (sternly) That won’t be necessary. Good night Mother. Beat. Madame Du Maurier exits. Most of the other guests have left as well. Sylvia and Barrie meet in the middle SYLVIA (CONT’D) That really was a fabulous evening. Thank you, Mary. James. BARRIE You’re so welcome. Let me see you out to your carriage. SYLVIA Oh no, we’re walking home anyway, it’s only a short distance. BARRIE Walking? At this hour. Oh well then I insist I shall walk with you. MARY James? It’s late BARRIE Exactly, I think it only right that I escort them back. Can’t be abandoning our guests in the London night, what would people think? SYLVIA (to Mary) I’m sorry, what a fuss. I hope you don’t mind... MARY ... not at all. They’re going - Barrie with Mary, putting on his coat, he finds his notebook in his pocket, and sets it on the table. BARRIE I won’t be long, Mary. I promise. Barrie exits with Porthos. Mary sees Barrie’s notebook on the desk. Checking the coast is clear, she takes hold of it... and exits.

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54.

SCENE 7. THE LLEWELYN-DAVIES HOUSE. NURSERY AN INSTRUMENTAL REPRISE FROM: “WE OWN THE NIGHT” The nursery - with four beds, and some tall french windows leading out onto a balcony, it is the image of the iconic Darling Nursery - yet to be invented... The boys are bouncing up and down on the beds BOYS (sing) LA-LA-LA-LA-LA.... MICHAEL We won’t go to bed, we won’t, we won’t! - Porthos runs after them, followed by Barrie and Sylvia. BARRIE Porthos!! Get out of here! I’m so sorry, Sylvia, I don’t know what has got in to him recently. SYLVIA (laughing) It is quite alright, really. Thank you for seeing us to our door. BARRIE Oh you’re very welcome. SYLVIA Actually I was talking to Porthos. I’m very grateful, you smelly, furry, slobbering thing, you. BARRIE It was his pleasure. SYLVIA Actually just then I was talking to you. She laughs, and tries to catch Porthos. SYLVIA (CONT’D) Oh Porthos! It’s impossible. Arthur would never have let a dog in the house, he’d have him tied up in the yard. And the boys would be in bed. She goes, leaving Barrie alone, watching...

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55.

In Barrie’s imagination, the boys bounce up and down on their beds, and as they do, they get higher... and higher ... almost as if they were flying... MUSIC “WHEN YOUR FEET DON’T TOUCH THE GROUND” UNDERSCORE: BARRIE (to himself, watching) Boys should never be made to go to bed. They always wake up a day older... Sylvia returns SYLVIA Right, that’s it, time for bed boys, I mean it. MICHAEL Do we get kisses? Sylvia kisses Michael, and sits by him on the bed. SONG “DREAM THE DREAM” BEGINS. SYLVIA CLOSE YOUR EYES, NOW ALL TOGETHER DREAM THE DREAM THAT LASTS FOREVER YOU'LL BE SAFE, YOU'LL BE SOUND TONIGHT LOVE UNENDING I WILL GIVE YOU I'LL BE HERE, I'M ALWAYS WITH YOU DREAM THE DREAM TILL THE MORNING LIGHT They boys are falling to sleep. She stands. SYLVIA (CONT’D) Alright now, no peeking. (to Barrie, hushed) They’ll be off in a minute, come on. She and Barrie leave quietly, into: The Sitting Room: They sit, Sylvia takes up some of her sewing - needle, thread, thimbles. BARRIE It must have been very hard on you. All of you. When your husband... SYLVIA Yes. Peter most of all, I think. BARRIE And you. Of course.

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...

56.

SYLVIA

BARRIE You know, I was Peter’s age when I lost my brother. David. He was ice skating on a nearby pond. There was - an accident. I always felt I should have been there... SYLVIA Oh James, that must have been awful. I’m so sorry. BARRIE It broke my mother. SYLVIA I can’t imagine. Losing a child. BARRIE He was her favourite. I knew it. One day, I wanted so badly to make her feel better that I dressed up in David’s old clothes, and walked into her bedroom. She looked at me and cried. Tears of happiness. I’d made her happy. Briefly. I think I probably grew up that day. In an instant. And buried the ‘child James’ deep into a box, locked it, and threw away the key. James...

SYLVIA

BARRIE (beat, shrugs) He went to Neverland. Neverland?

SYLVIA

BARRIE A place, I invented. Where you never have to grow old. You always stay the same. That’s where David went. (beat, thinking...) I’ve - never told anyone before. Not even... He stops himself saying ‘Mary’. They look at one another. MUSICAL INTRO FOR “NEVERLAND”: Sylvia blushes, and offers him a thimble from her sewing kit.

26/8/13

Here.

SYLVIA

BARRIE What is it? SYLVIA Oh you’re such a man; it’s a thimble. For your finger when sewing. It... protects you. From pain... Beat. He takes it gently from her hand. BARRIE I have nothing to give to you. SYLVIA Well. You could take me to Neverland, some day. BARRIE (beat. Smiles) I will.

57.

26/8/13 SONG: “NEVERLAND” BARRIE THE STARS ARE A MAP OF THE UNIVERSE THE INFINITE VAST AND UNKNOWN AND THERE IN THE MIDST OF THE MILKY WAY IS ONE STAR I CLAIM FOR MY OWN I CAN’T QUITE RECALL WHEN I NOTICED IT IT ONLY APPEARS TO THE FEW I THINK IT WAS WAITING FOR ME TO REVEAL IT TO YOU... SECOND STAR TO THE RIGHT AND STRAIGHT ON TILL MORNING NEVERLAND IS WAITING TO BE FOUND THROUGH THE CLOUDS OF THE NIGHT AND THEN WITHOUT WARNING SUDDENLY YOU SENSE IT ALL AROUND... SYLVIA UNIVERSE OF CONSTANT SPINNING EVERY END AND NEW BEGINNING CAN BEGIN TO FEEL THAT SOMETHING’S HAPPENING TO ME BARRIE A STAR-SHIP COULD FLY FOR ETERNITY AND STILL NOT COME ANYWHERE NEAR IMAGINE THAT YOU ARE THE LIGHT AND YOUR WAY WILL BE CLEAR... SECOND STAR TO THE RIGHT A SPARK IN THE DISTANCE NEVERLAND IS CLOSER THAN IT SEEMS CLOSE YOUR EYES AND HOLD TIGHT THROUGH TIME AND EXISTENCE NEVERLAND WILL FIND YOU IN YOUR DREAMS BARRIE IMAGINE THE ROOFTOPS BENEATH YOU THE WHOOSH OF THE WIND IN YOUR HAIR YOUR -

SYLVIA I BEGIN TO FEEL THAT SOMETHING’S HAPPENING IMAGINE THIS HAPPENING I FEEL MY -

BARRIE/ SYLVIA - ARMS TURN TO WINGS AND YOUR LEGS BECOME LIGHTER THAN AIR AND I’M THERE...! BARRIE (CONT’D) IN YOUR DREAMS SECOND STAR TO THE RIGHT AND STRAIGHT TO THE MORNING

SYLVIA THE STAR TO THE RIGHT TO YOUR DREAMS TO YOUR HOPE TO THE MORNING

58.

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59.

BARRIE/ SYLVIA NEVERLAND, NEVERLAND THROUGH THE CLOUDS OF THE NIGHT AND THEN WITHOUT WARNING SUDDENLY YOU SENSE IT ALL AROUND SECOND STAR TO THE RIGHT A SPARK IN THE DISTANCE NEVERLAND IS CLOSER THAN IT SEEMS CLOSE YOUR EYES AND HOLD TIGHT THROUGH TIME AND EXISTENCE NEVERLAND WILL FIND YOU IN YOUR DREAMS NEVERLAND

They both find themselves back in the nursery, watching the boys finally sleep, and dream. SONG ENDS.

26/8/13 SCENE 8. FROHMAN’S OFFICE Frohman’s Shaftesbury Avenue garret office. Barrie is excited, hopping around. But Frohman is the opposite, pacing intently, reading Barrie’s pages. FROHMAN “Neverland”?!! No. No, what is this? Islands, mermaids, children who are fairies? BARRIE No the children aren’t the fairies, the fairies are the fairies, and the children are just the boys. Boys who can never grow up. FROHMAN Why can they never grow up? Where the hell is Neverland? How did the clock get inside the crocodile? BARRIE He swallowed it. FROHMAN Of course he did. (closing the pages) What’s happened to you, something’s different. Where has James Matthew Barrie gone? BARRIE Maybe this is James Matthew Barrie, Charles? The real one? FROHMAN I liked the other one better. A play for children? James, children don’t have any money, they can’t buy tickets, they can’t buy ice creams. Adults buy things. BARRIE It isn’t a play just for children. It’s a play for everyone. Everyone who has a child inside of them, screaming to get out. Even you must have one of those Charles. MUSIC INTRO FOR: “CIRCUS OF YOUR MIND” FROHMAN I don’t have an inner child inside me, James, I have an ulcer. An ulcer and a gut instinct.

60.

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61.

BARRIE Did you like the part where the nanny was the dog? SONG: “CIRCUS OF YOUR MIND” FROHMAN TELL ME ONE THING, THAT I’LL UNDERSTAND THIS MAN IS A BOY, BUT THIS BOY’S OUT OF HAND PIXIES AND FAIRIES AND MERMAIDS AND CROCS? BUT ALL I CAN HEAR IS THE TICKING OF CLOCKS HOW YOU GONNA WRITE IT, HOW YOU GONNA STAGE IT SOUNDS SO RIDICULOUS, THE CRITICS ARE GONNA MURDER US HOW AM I GONNA FACE IT, SUCH A DISGRACE YET HERE WE GO AGAIN, AND AGAIN, AND AGAIN IT’S LIKE LIVING ON A MERRY GO ROUND AND ROUND WE SEEM TO GO NO ONE EVER SEEMS TO KNOW WHY I’M SEEING PEOPLE FLOATING WEIGHTLESSLY CEILINGS WHERE THE FLOOR SHOULD BE THESE AND OTHER THINGS YOU WILL FIND IN THE CIRCUS OF YOUR MIND BARRIE Just hear me out. FROHMAN Where is the drama, James? A fantasy world? No conflict, no danger, no villain. FROHMAN (CONT’D) I’VE HEARD ENOUGH, YOU’RE LOSING YOUR MIND YOU’RE SPEAKING IN RIDDLES BUT THE RIDDLES DON’T RHYME YOU WANT FLYING CHILDREN UP THERE ON THE STAGE DOGS WEARING APRONS AND BOYS THAT DON’T AGE YOU SAY I WILL ADORE IT, BUT I’M PAYING FOR IT LITTLE BIT OF TRAGEDY, LESS OF ALL THE COMEDY HOW AM I GONNA FACE IT, SUCH A DISGRACE YET HERE WE GO AGAIN, AND AGAIN, AND AGAIN IT’S LIKE LIVING ON A MERRY GO ROUND AND ROUND WE SEEM TO GO NO ONE EVER SEEMS TO KNOW WHY I’M SEEING PEOPLE FLOATING WEIGHTLESSLY CEILINGS WHERE THE FLOOR SHOULD BE THESE AND OTHER THINGS YOU WILL FIND IN THE CIRCUS OF YOUR MIND FROHMAN (CONT’D) (sighs) Look. People are talking. About how, well, odd it is. (MORE)

26/8/13 FROHMAN (CONT’D) That you spend so much time with a woman who isn’t your wife. And ... James, about your ‘relationship’ with the boys. Barrie is shocked at the implication. BARRIE I knew it. As soon as you find the smallest piece of happiness in this world, there is always someone ready to take it away. There’s nothing going on, Charles FROHMAN Oh don’t insult me, I know that. But how does Mary feel? It’s clear that she’s not very happy, James BARRIE That’s none of your business. FROHMAN Fine. But this is. (holding up the script) And you’re throwing away your career, and mine along with it! YOU’RE LIVING ON A MERRY GO ROUND AND ROUND WE SEEM TO GO NO ONE EVER SEEMS TO KNOW WHY IN THE CIRCUS OF YOUR MIND

We transition into THE BARRIE’S HOUSE. Mary is with CANON. MARY Oh. James. I didn’t expect you back. This is CANON - uh, Canon. We met the other BARRIE Yes, I know who you are. MARY Mr. Canon was just talking me through his campaign, and we must have lost track of the time.

62.

26/8/13 CANON Yes. Whoopsi-daisy. Well, I’ll be off. A pleasure to see you, both of you, again. He goes. A silence. MARY Oh say something please, James, don’t insult me by staying silent. BARRIE I have nothing to say. MARY That’s not true, you have plenty to say She retrieves Barrie’s notebook and tosses it down. MARY (CONT’D) Just not to me. A moment... BARRIE You don’t have to steal my journal to get to know me, Mary. MARY Do you love her? BARRIE How can you ask me that? MARY I RESIGNED MYSELF TO SPEND ALL MY LIFE TO BE ALL THE THINGS ONE EXPECTS FROM A WIFE YOUR IMAGINATION IS WHERE YOU RESIDE THOUGH MY INVITATION HAS NEVER ARRIVED DARLING THOUGH YOU TRY, YOU CANNOT DENY  SHE'S ON EVERY SINGLE PAGE, OF YOUR JOURNAL JAMES NOW WE HAVE TO FACE IT, SUCH A DISGRACE YET THERE YOU GO AGAIN AND AGAIN AND AGAIN IT'S LIKE LIVING ON A MERRY GO ROUND AND ROUND WE SEEM TO GO YET I NEVER SEEM TO KNOW WHY I'M HEARING PEOPLE WHISPER QUIETLY FRIENDS ARE NOW AVOIDING ME THIS IS THE LIFE YOU'VE DESIGNED IN THE CIRCUS OF YOUR MIND She leaves, as we transition into -

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64.

THE LLEWELYN DAVIES HOUSE. Barrie arrives, somewhat panicked, at the door to the house having changed outfit into a kilt with war paint on his face, a helmet, and a toy sword and shield. BARRIE (shouting up to them) Auch laddies! Grab your wee pickaxes and catapults, I need you! We’re going to war!! The door opens - Madame Du Maurier is there. Barrie feels sheepish in his attire, dropping the act. BARRIE (CONT’D) Mrs Du Maurier. I was wondering if I may see Sylvia and the boys. MADAME DU MAURIER No, you may not. BARRIE No? ... Why not? MADAME DU MAURIER May I be quite direct with you, Mr. Barrie? I HAVE KEPT MY EYE ON YOU EVER SINCE YOU CAME INTO THIS FAMILY’S LIFE YOU HAVE BEEN SO DISRUPTIVE. CHILDREN NEED A FIRM HAND, THEY NEED TO BE TOLD NO, THEY NEED A FATHER AND SYLVIA A HUSBAND. AND AS YOU CANNOT BE THAT, I SUGGEST THAT YOU STOP. BARRIE I have only ever wanted what’s best for them. MADAME DU MAURIER The best thing you can do now is leave them alone! YOU ARE LIVING ON A MERRY GO ROUND AND ROUND YOU SEEM TO GO UNDERSTAND THAT WE HAVE NO TIME FOR THE CIRCUS OF YOUR MIND Sylvia’s date MR. PONSONBY exits the house into the street, offering his arm to a reluctant Sylvia. He is intimidatingly dashing and suave.

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65.

PONSONBY Shall we, my dear? SYLVIA (seeing him) James? PONSONBY Our carriage awaits. SYLVIA I... Mother thought it was a good MADAME DU MAURIER Never mind what mother ‘thought’, mother ‘thinks’ you had better get going. Sylvia and Barrie are locked eyes, before she slinks away. Goodnight.

SYLVIA

And they’re gone. BARRIE Sylvia..? Sylvia?! All three of his antagonists turn on him FROHMAN/ MARY/ MADAME DU MAURIER IT'S LIKE LIVING ON A MERRY GO ROUND AND ROUND WE SEEM TO GO NO ONE EVER SEEMS TO KNOW WHY WE'RE DOING EVERYTHING THAT WE CAN DO TO GET IT THROUGH TO YOU TRYING TO MAKE YOU SEE BUT YOU’RE BLIND BY THE CIRCUS OF YOUR MIND BY THE CIRCUS OF YOUR MIND BY THE CIRCUS OF YOUR MIND

SONG ENDS.

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66.

SCENE 9. LONDON STREETS/ BARRIE’S STUDY THE MUSICAL INTRO TO STRONGER BEGINS. Barrie is alone in the fog of the street. BARRIE FEELS LIKE THERE’S NOTHING LEFT, AM I ON MY OWN AND THE ROAD AHEAD, MUST I WALK ALONE THEY’RE ALL LEAVING ME, DON’T BELIEVE IN ME His library appears around him, surrounded by books. Flames flicker in the fireplace. Barrie collapses over to his desk and grabs his notebook. BARRIE (CONT’D) Come on, think James! You’ve an imagination, don’t you?! Write. Just write. You must finish! Pacing with his notebook, scribbling furiously. BARRIE (CONT’D) THERE MUST BE SOME WAY OUT TO REACH MY GOAL I’LL SEARCH MY HEART WITH ALL MY SOUL FIND THE MYSTERY, OF WHO I NEED TO BE BARRIE (CONT’D) So Wendy and the boys fly to Neverland, where they go and live with the Indians - no, where they live with the Lost Boys and fight the Indians. Or fight the Mermaids? Or... or... He stops pacing and raises his arms into the air - the fire and the lights in the room casting his SHADOW tall and menacing against the wall. BARRIE (CONT’D) (screaming in frustration) ... ARGH! A moment, he calms a little. But as he walks back to his desk - we see that his shadow remains where it is on the wall... BARRIE (CONT’D) Frohman’s right, there’s no drama, there’s nothing for the, the characters to fight against. He tosses his book down. The SHADOW turns its head and watches him. It begins to sneak closer -

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67.

BARRIE (CONT’D) I should give up. Write a proper play, a serious one like before. Maybe then... maybe Mary would... HOOK (voice) You COWARD! MUSIC INTRO FOR “PIRATE INSIDE” Barrie jumps, turning to see his SHADOW, which is morphing into the familiar shape and size of CAPTAIN HOOK... HOOK (CONT’D) “Oh boo-hoo, no one wants to play with me and my wife has left me, oh woe is me”. Pah! Do you want to suck your thumb or do you want to go on an adventure?! BARRIE Who are you?! HOOK Who am I..? The lights flicker in the room, some intermittent darkness, as from out of the shadows and the darkness steps... HOOK (CONT’D) I am the storm in your soul, James, The captain of your sub conscious. The devil on your back... SONG: PIRATE INSIDE BEGINS. HOOK (CONT’D) TEAR UP THIS SIMPERING WHIMSY. WEAKNESS I WILL NOT ABIDE. TIME YOU LOOK IN YOUR SOUL, FOR THE HOOK IN YOUR SOUL. LET OUT THE PIRATE INSIDE! Beat. He offers his hand courteously - a gentleman dandy. HOOK (CONT’D) Captain Hook, pleasure to meet you. Hook?

BARRIE

HOOK ... James Hook. BARRIE (offering his hand) ... James Barrie.

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68.

BARRIE (CONT’D) But I don’t understand where you came from! HOOK I came from you, James. A part of you, the part you don’t talk about at tea parties with little cakes and cucumber sandwiches. BARRIE You’re me? ... Well I must confess you are incredibly handsome. HOOK (flicking his wig, pleased) Well yes, I can’t deny it, can’t deny it - En garde! Barrie grabs the poker from the fire to use as a sword. They fight HOOK (CONT’D) PRACTICE YOUR SWASHBUCKLING SWAGGER. PUT SOME PANACHE IN YOUR STRIDE. SNIDELY SNEER: "NYAH-HA-HA!' LEWDLY LEER, ET VOILA! LET OUT THE PIRATE INSIDE! Barrie ducks Hook’s sword swipe and kicks Hook in the backside before running to hide somewhere else. HOOK (CONT’D) Oh now really that’s bad form, James, bad form! BARRIE I won’t fight! HOOK You must! It is time! The fighting continues HOOK (CONT’D) SPARE ME THESE MILD-MANNERED MILQUETOASTS. ENGLAND'S BEEN OVER SUPPLIED. DON'T FEEL FRIGHTENED BY HOOK. FEEL ENLIGHTENED BY HOOK. LET YOUR SENSE OF ADVENTURE BE HEIGHTENED BY HOOK. Barrie grabs his pen from the desk. BARRIE The pen is mightier than the sword! Hook swishes his sword, slicing the top of Barrie’s pen off.

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69.

BARRIE (CONT’D) I didn’t mean literally. HOOK You need me, James! Your play needs me. Children like to be scared. They just don’t know it yet! Unleash me! BARRIE I don’t know how! HOOK SHOW US YOUR LATIN "MACHISMO!" FLAUNT YOUR CAJONES WITH PRIDE! PUT YOUR GUTS TO THE TEST! GROW SOME HAIR ON YOUR CHEST! LET OUT THE PIRATE INSIDE! HI-HO! FEE-FO! LIKE SO! JUST LET OUT THE PIRATE INSIDE! HOOK (CONT’D) Now are you a man or a mouse! A pirate, or a pansy?! BARRIE I’m a, a pirate! HOOK Don’t believe you! Hook delivers his wicked pirate laugh. Barrie tries his own bad attempt at a wicked laugh. HOOK (CONT’D) What was that? Is someone tickling you, do you have a cough, what? Hook demonstrates again. Barrie repeats - it’s a better laugh. He takes hold of his ‘poker’, growing in confidence. THE SCORE FOR STRONGER RETURNS: BARRIE IN THE DARKEST PLACE Yes?

HOOK

BARRIE THERE’S THE FAINTEST LIGHT

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70.

HOOK That’s right! BARRIE GIVES ME HOPE TO FACE Arhh!

HOOK

BARRIE THE HARDEST FIGHT PAIN DELIVERS ME, DON’T NEED THEIR SYMPATHY COS THEY CAN’T TAKE AWAY MY MIND WHERE I GO THEY WILL NEVER FIND BARRIE I’VE GOT TO BE STRONGER, REACH UP HIGHER MUST DIG DEEPER, FIND THE FIRE FEEL ENLIGHTENED, CAN’T BE FRIGHTENED ANYMORE

HOOK TEAR UP THIS SIMPERING WHIMSY. WEAKNESS I WILL NOT ABIDE. TIME YOU LOOK INTO YOUR SOUL, MAN AND BRING OUT THE PIRATE INSIDE!

BARRIE (CONT’D) I CAN RUN NOW, SO MUCH FASTER NOW DEFEAT WON’T, BE MY MASTER FOR TO CONQUER THE DEMONS I WON’T HAVE TO WAIT MUCH LONGER I’VE GOT TO BE STRONGER

HOOK PRACTICE YOUR SWASHBUCKLING SWAGGER. PUT SOME PANACHE IN YOUR STRIDE. SNEER: "NYAH-HA-HA!' ET VOILA! LET OUT THE PIRATE INSIDE!

The room begins to rumble and shake. HOOK YOU’LL SEE IN TIME YOU WILL SURVIVE TOO SOON TO RUN TOO LATE TO HIDE IT’S YOUR DESTINY EVERY PACE EVERY STRIDE Hook seems to disappear back into the shadows... The rumble grows deafeningly loud... The lights in the room flickering madly... The JOLLY ROGER pirate ship appears, crashing through the bookshelves. Captain Hook is at the wheel. Barrie takes hold of a curtain rope or chandelier and swings aboard onto the deck of the ship.

26/8/13 BARRIE I AM STRONGER, REACH UP HIGHER DIGGING DEEPER, FOUND THE FIRE FEEL ENLIGHTENED WON’T BE FRIGHTENED ANYMORE I CAN RUN NOW, SO MUCH FASTER NOW DEFEAT WON’T BE MY MASTER I WILL CONQUER THE DEMONS I WON’T HAVE TO WAIT ANY LONGER I AM STRONGER...

71.

CHORUS STRONGER HIGHER DEEPER FIRE ENLIGHTENED FRIGHTENED ANYMORE RUN NOW MUCH FASTER BE YOUR MASTER AH...

CHORUS YOU TELL ME NO, THEN I GET YOU TELL ME GO, THEN I GET YOU TELL ME NO, THEN I GET WHOAH BARRIE I AM STRONGER REACH UP HIGHER DIGGING DEEPER FOUND THE FIRE AND TO CONQUER THE DEMONS I WON’T HAVE TO WAIT ANY LONGER

YOU TELL YOU TELL YOU TELL YOU TELL WHOAH

BARRIE I AM STRONGER

WHOAH!

ME ME ME ME

CHORUS NO, THEN NO, THEN GO, THEN NO, THEN

I I I I

GET GET GET GET

CHORUS

Barrie has joined Hook and the PIRATE CREW on board. BARRIE Act One Scene One! - A NURSERY! At the foot of the ship appears the faint sight of - the Darling Nursery. An image of Sylvia as WENDY, and Peter, George, Jack and Michael as the BOYS, getting ready for bed... Barrie wanders out onto the gangplank, wobbling at first, but growing in confidence as he strikes the pose, sword raised. The cacophony of music, storms, and noise has been building. Blackout.

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72.

ACT TWO - SCENE 1. DUKE OF YORK’S THEATRE - REHEARSAL BARRIE Act One, Scene One! A NURSERY! Lights up: The first day of rehearsal on an empty stage. SONG: “ FIRST DAY” Barrie is handing out scripts to actors - MR. CROMER, MR. TURPIN, MISS BASSETT, MISS POTTER. DAH-DAH-DAH... DAH-DAH-DAH...

COMPANY

IT IS THE FIRST DAY, AND WHO KNOWS WHAT WE WILL FIND, FOR ON THE FIRST DAY, YOU’RE ALWAYS GOING IN BLIND, WE’LL GIVE IT ALL WE’VE GOT, AND NOT BE NERVOUS AND SCARED, MISS BASSETT I’VE HAD A LITTLE NIP OF GIN SO I’M ALL PREPARED COMPANY IT IS A CLEAN SLATE, FOR ALL POSSIBILITIES, ALL THE EXCITEMENT MAKES ME WEAK IN THE KNEES, I KNOW THAT DEEP INSIDE WE’VE ALL GOT NOTHING TO FEAR, NOW THAT THE FIRST DAY IS HERE The cast are flipping through the scripts. Elliot rushes to Frohman who is flicking through his. ELLIOT Mr. Frohman, I don’t mean to add to your worries FROHMAN And yet here you are. ELLIOT - it’s this whole ‘flying’ business, sir. We’ve come up with some new apparatus that can hang the actors by a rope FROHMAN Good, be a dear and tie it around my neck, would you?

26/8/13 MISS BASSETT (reading; to Barrie) What’s this? Animals? And Fairies? Oh I see, like a sort of Midsummer Night’s Dream, excellent. BARRIE Don’t you just love the first day of rehearsal, Charles?! The possibilities, the excitement FROHMAN I thought you were going to tone it down, and yet instead you’ve chosen to ratchet the whole thing up to a new level of ridiculousness. BARRIE Not ridiculousness, Charles; ‘magic’. ‘Make believe’. MISS POTTER (approaching, shyly) Excuse me, Mr. Barrie, but I think I must have someone else’s script. This one is for ‘the boy’. BARRIE Yes, that’s right. ‘The boy who wouldn’t grow up’. MISS POTTER What, I’m a girl playing a boy? Oh I see, it’s a panto. No -

BARRIE/ FROHMAN

FROHMAN Not a panto. Charles Frohman does not do pantos. He does serious theatre -

73.

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74.

ELLIOT (with a costume) Here’s your mermaid flippers, Mr Frohman. Frohman covers his face in despair. THE SONG CONTINUES. COMPANY THIS IS THE FIRST DAY, AND IT’S NOT GOING TOO WELL MISS POTTER ONLY THE FIRST DAY? MISS BASSETT AND IT’S ALL GOING TO HELL COMPANY WE’RE TRYING MR. FROHMAN DON’T MEAN TO BE UNKIND ELLIOT BUT HAS MR. BARRIE FINALLY GONE OUT OF HIS MIND COMPANY IT’S BEEN A LONG DAY, AND IT’S ONLY QUARTER TO TEN, I GUESS TOMORROW, WE’VE GOT TO DO IT AGAIN, I WANT IT TO BE OVER BUT IT’S ONLY BEGUN, AND IT IS ONLY DAY ONE! MUSIC UNDERSCORES: MR. TURPIN There’s pages missing from my script. BARRIE You only have the pages of the scenes that you are in. MISS BASSETT Only have - ? Why, what’s so secret? BARRIE We prefer to think of it as ‘mysterious’. Mr. Frohman wanted to avoid any danger of the play leaking out to the press. FROHMAN Because it is that good. You understand. Frohman gives the audience one of his private looks. MR. HENSHAW, a grand old thespian actor, enters with aplomb.

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75.

MR. HENSHAW Good morning, my darlings. All the others gasp in reverence. Some clap. MR. TURPIN Such an honour to be working with you again, Mr. Henshaw. MR. HENSHAW Well I missed you, darlings, I’ve been giving my ‘Lear’ out there in that wilderness commonly referred to as - ‘the regions’. Such an exhausting endeavour, touring. Visiting awful places full of wonderful people -- or is it wonderful places full of awful people? Either way, one must ‘give back’, mustn’t one. James! BARRIE (handing him a script) Here you are, Mr. Henshaw. MR. HENSHAW Thank you, darling, and what challenging role do you have for me this time? BARRIE Well, it’s a pivotal part MR. HENSHAW Oh stop it, I’m blushing. BARRIE You’ll be opening the play MR. HENSHAW Of course, of course, never fear. BARRIE - in the role of -- the Nanny. MR. HENSHAW Excellent. And dressing room number one, I take it? I’d like to chaHe stops, doubling back on himself to Barrie, spluttering. THEN MUSIC CUTS OUT. MR. HENSHAW (CONT’D) The, the what? Nanny? (MORE)

26/8/13 MR. HENSHAW (CONT’D) Darling, I was Richard III on Drury Lane. I do not - do - ‘childminding’. A woman’s role? BARRIE Oh, no, it’s not a woman. Oh.

MR. HENSHAW

BARRIE No it’s a dog. MR. HENSHAW ... Charles? THE MUSIC UNDERSCORE RETURNS. MISS BASSETT (approaching, with Cromer) Mr. Barrie, our characters. “Mr. “Nibs. MR. CROMER And “Tootles”. MISS BASSETT What is their motivation? Because you see I have to live and breathe my part, drawing on my own life experience. BARRIE Well. Nibs is a Lost Boy. MISS BASSETT Lost, good, interesting, yes. In what way lost? Lost in a state of emotional purgatory, hmm? Lost in himself, searching existentially for who he is? BARRIE No he just, he’s just lost, he doesn’t know where he is. Or why he’s there. Do you have ‘experience’ of that? MISS BASSETT I think I’m experiencing it now. Miss Bassett joins Miss Potter. MISS POTTER (privately) Do you think he’s gone mad?

76.

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77.

MISS BASSETT I heard that his wife left him. MISS POTTER No... poor man. Barrie catches a snippet of this, momentarily wounded, until: MR. TURPIN Excuse me, sir? Who am I playing? Darling.

BARRIE

MR. HENSHAW (thinking he means him) Yes, darling? I’m sorry?

BARRIE

MR. HENSHAW I thought you called? BARRIE No, I was talking to Mr. Turpin. MR. HENSHAW Sorry, darling. BARRIE (to Turpin) You’re playing Mister Darling. The father. HENSHAW (overhearing) The father? Oh well surely I should be playing the father. MR. CROMER (approaching too) No, surely I should. Mr. Turpin is far too young. BARRIE No one is too old or too young for any part in this play, that’s the point. Everything is reversed. MR. HENSHAW (searching his script) Which part is this? Darling.

MR. TURPIN

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MR. HENSHAW Yes, darling? MR. TURPIN No darling, I mean I’m playing Darling. MR. HENSHAW Playing what, darling? Darling!

MR. TURPIN

MR. HENSHAW I’m listening! Just tell me what part you’re playing, darling? MR. TURPIN Yes, that’s it. What is?

MR. HENSHAW

MR. TURPIN YES. I’m playing DARLING! MR. HENSHAW Playing WHAT, darling?!! FROHMAN OH FOR THE LOVE OF-!!!! (coming over) The family is called Darling, that is the family’s name, the family ‘Darling’. Mr. And Mrs. Darling. Got that? MR. CROMER Well there’s no need to patronise us. We’re not idiots, darling.

Yes?

MR. TURPIN (turning)

What? What? What?

MR. CROMER MR. TURPIN MR. CROMER

The actors huddle together with their scripts. Miss Potter, Mr. Henshaw, Mr. Cromer and Miss Bassett sing simultaneously together -

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79.

MISS POTTER (simultaneous) OH DEAR, THERE'S SOMETHING WRONG HERE DARLING, I PLAY A BOY THOUGH, THIS IS A BAD START NO PANTO?

MR. HENSHAW (simultaneous) OH DEAR, THERE’S SOMETHING WRONG HERE ARE YOU MISTAKEN I’VE AN OBJECTION DARLING

MR. CROMER (simultaneous) OH DEAR THERE’S SOMETHING WRONG HERE LOST BOY, OH DEAR LOST BOY, OH FLY DEAR

MISS BASSETT (simultaneous) OH DEAR, THERE’S SOMETHING WRONG HERE I FIGHT A PIRATE OH DEAR, I NEED PROTECTION

COMPANY IT ALL SEEMS QUITE ABSURD OH MR. FROHMAN, PLEASE A WORD... IT IS THE WORST DAY, WE’VE EVER HAD ON A STAGE MISS BASSETT IT IS THE WORST DAY, I’M REALLY FEELING MY AGE MR. CROMER I NEVER FELT SO LOST ALTHOUGH I WISH I WAS FOUND COMPANY I THINK WE’RE GONNA BE THE LAUGHING STOCK OF THE TOWN MISS POTTER AN UNREHEARSED PLAY, BUT I KNOW WE CAN TRY ONLY THE FIRST DAY, IT SEEMS I’LL LEARN HOW TO FLY COMPANY WE THOUGHT WE'D SEEN IT ALL BUT NOW WE REALLY MUST SAY IT IS THE VERY WORST, FIRST DAY SONG ENDS.

26/8/13 FROHMAN Places, so that we may have a read! Before we start, I need you to sign these. Don’t be alarmed. MR. CROMER Don’t be what? FROHMAN It’s nothing to worry about. MR. HENSHAW What is it? FROHMAN ... It’s life insurance. What?!

ALL

FROHMAN A minor precaution, just because there will be a, a certain amount of, erm, of well, lifting up off the... you, you might occasionally be required to leave the, the ... you’re going to be flying. MISS POTTER Flying? Like up in the air? FROHMAN And no one has ever tried it before and no one knows whether or not it will work. So. (smiles) Who wants to use my pen? Frohman takes Barrie aside. FROHMAN (CONT’D) James, this main character, what’s his name? BARRIE The boy? The boy has no name.

80.

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81.

FROHMAN Well then find him a name. Find all of them names, I refuse to put ‘Mermaid’ on the billing, I refuse to put ‘fairy’ on the billing. BARRIE Ah, never fear, for I have come up with the perfect name for the fairy that you’re going to love. FROHMAN Please say that it’s Margaret or Jennifer, something normalBARRIE For a fairy, that makes the song of ringing bell as she flies, who lights up the night sky when she’s happy or sad or cross? No, her name, remembered for all time, by children across the world, shall beA little drum roll. BARRIE (CONT’D) - Shiny bottom!! Silence. Get out.

FROHMAN

BARRIE Light legs? Bright bum? James.

FROHMAN

BARRIE Princess Ding-a-ling? Mr Cromer is in his harness. Elliot goes to the side where the ropes are tied in the pulley system. ELLIOT Right, now, you’ll have to be patient, we’re flying blind here, so to speak. MR. CROMER And so how does it work, just Elliot and his crew pull on the ropes, and Mr. Cromer raises up into the air. He yells out. Everyone else in awe. MISS POTTER Oh my gosh, look at that.

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Whah!

82.

MR. CROMER

ELLIOT (pulling higher) It’s alright, Mr. Cromer, we’ve got you. MR. CROMER I think I have a fear of heights! FROHMAN You didn’t mention that on your form. MR. CROMER I didn’t realise until just now! He dangles there ungraciously, slowly twisting around. BARRIE Do you want to practice with some lines while you’re up there? MR. CROMER I’ve left my script down there. FROHMAN Just anything. Do anything. MR. COMER (shouting, from Hamlet) “Oh that this too too solid flesh would melt! Thaw, and resolve itself into a dew!” He continues reciting, as he dangles there, being occasionally jolted upwards, and jolted downwards as the crew get the hang of the controls. BARRIE Try and look like you’re flying as well. Through the air. MR. CROMER (doing the breast stroke) “O God. God. How weary, stale, flat, and unprofitable.” FROHMAN That’s swimming, not flying. MR. CROMER This is quite painful actually.

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83.

FROHMAN I agree but you’ll get better. Elliot lowers Mr. Cromer. The Llewelyn Davies boys sneak on from the wings, watching in awe at the flying display above them. Elliot sees and grabs Peter, letting go of the rope, causing Miss Potter to drop a little, saved by another crew member. ELLIOT Oy, what are you doing in here! MICHAEL GET OFF HIM YOU BLIGHTER! BARRIE No, wait! I know them. Peter, all of you? What are you doing here? MICHAEL We told the man at the door that it’s a play about us and he believed us! BARRIE That’s because it is a play about you. But I thought you weren’t allowed to see me? GEORGE We’re -- we’re not. Grandmother doesn’t know we’re here. BARRIE Now, boys... MICHAEL But. I -- we just want to keep having adventures. A moment, Barrie can’t help but smile. He gives them a hug. BARRIE Come here, you daft bunch. Mr. Henshaw watches them with Frohman. MR. HENSHAW Children on stage now. Whatever next? FROHMAN Robert, ‘sit’. Mr. Henshaw instinctively sits, like a dog.

26/8/13 GEORGE Can we have a go on the ropes?! BOYS (EXCEPT PETER) Yeah! The ropes! Jack and the boys run over to Elliot and the ropes. Barrie is to one side with Peter. PETER Mr. Barrie? It’s mother. She looks so tired and exhausted. And I’m worried that... This is hard for him. He looks at his feet. BARRIE Peter. Your mother is alright. (out to the room) Except that she’ll be worried about you all. Where is your mother? MICHAEL We escaped from her in the park. BARRIE You ‘escaped’ from her?! MICHAEL Don’t worry. We have a plan. JACK She knows it’s the first day of your rehearsals. I bet she’ll come and find us here, we just know it. BARRIE Jack, Michael, that really isn’t MICHAEL It’s true, honestly, we know our mother like the back of our hands. She’ll be here any second. Watch! I’ll conjure her! He rolls up his sleeves and begins ‘conjuring’... MICHAEL (CONT’D) “Abracadabra, please appear, Hocus pocus, Mother dear!” He points his hands stage right -Sylvia enters stage left, behind them, making them jump. Boys?

SYLVIA

84.

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85.

MICHAEL MOTHER YOU WERE MEANT TO ENTER OVER THERE! SYLVIA (slightly out of breath) What are you doing?! GEORGE It isn’t fair that we’re not allowed to see Mr. Barrie. SYLVIA Oh George, it’s complicated, it’s not that you’re ‘not’ allowed to. GEORGE We’re only doing what you always told us to. Stand together. JACK And stand up for what we believe in. Sylvia sighs, unable to argue with that, taking Barrie to one side. SYLVIA The fact is James, I know the boys have missed your company. I have missed it, but... well, I heard about Mrs Barrie, and Ah.

BARRIE

SYLVIA I thought it best if I just... It must be hard. To find yourself suddenly -

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86.

BARRIE (brushing it aside) No, nothing is hard in Neverland! There’s no time for things to feel hard, I have to fight crocodiles and save maidens. Peter has discovered a hand mirror on the props table and reflects the light around the room. BARRIE (CONT’D) Oh Peter, yes. Do you remember? From the dinner? You invented her. ‘Her’? Our fairy.

PETER BARRIE

ELLIOT (coming over) Look, this fairy malarkey. I don’t understand why we need it if she doesn’t exist. BARRIE (gasps, theatrically) You can’t say that. Every time you don’t believe in a fairy, a fairy doesn’t believe in herself. And she vanishes. Right, Peter.

26/8/13 PETER Oh yes. Everyone knows fairies exist. Look at Tinkerbell. BARRIE ... tinkerbell? PETER (sheepish) That’s what I named her. In my book. GEORGE We believe in fairies, don’t we? Yeah.

JACK/ MICHAEL

BARRIE Do you believe in fairies, Mr Cromer? Mr Henshaw? MR. HENSHAW Darling, I work in the theatre, I see them every day. MR. TURPIN Off to the Swan, Mr. Barrie. Some of us could do with a stiff drink. SYLVIA What’s the Swan? BARRIE It’s the local tavern, full of theatricals and artists GEORGE Why don’t you take mother with you? Yes go on!

MICHAEL

SYLVIA This wouldn’t be part of your plan now, would it? GEORGE Oh go on, mother. You should try and relax and have some fun. Mr. Barrie is the best at fun, you know.

87.

26/8/13 SYLVIA Yes, I know he is. But I don’t want you going home alone. BARRIE That’s alright, Elliot can walk them, it isn’t far. ELLIOT Oh can I now? GEORGE Thank you, Elliot! MICHAEL Thank you, Elliot! BARRIE (shrugs. To Sylvia) Well?

88.

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89.

SCENE 2. THE SWAN A bawdy London tavern. Drinkers and barmaids, actors, musicians and dancers. Someone plays a piano, an accordion is being fiddled with by the bar. SYLVIA I haven’t been to such a place in gosh, I can’t even remember. BARRIE Is it too loud, too busy? SYLVIA Oh come off it. No rowdy London tavern can compare to a family of four boys. BARRIE I’m so delighted you came. Mary -she always said no when I invited her here. It wasn’t her cup of tea. She coughs a little, waving the smoke away. BARRIE (CONT’D) You could do with getting out of the city, some fresh air. Why don’t I take you for a drive tomorrow in my motor car, out to the country? SYLVIA Oh, no, tomorrow Peter is putting on his play. BARRIE His - his what? SYLVIA Oh yes. He’s written a play. In his notebook. Barrie beams, unable to hide his joy. BARRIE Well, why don’t I drive us all out to the countryside, we can produce the play there? After all, don’t cows deserve to see top class theatre as well? SYLVIA They absolutely do, you’re right. The actors sit drinking around a table, nearby.

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90.

MR. CROMER How does it get to this point, that’s what I want to know. MISS BASSETT I’ll tell you how it gets to this point. The old man. He’s finally lost it. His Midas touch. Frohman listens. MR. HENSHAW What we are witnessing, dear friends, is the fall of the “Frohman empire”. Frohman finishes his drink and considers walking out. But he stops. A beat. Taking in his surrounding. His empire... FROHMAN Alright, listen up!!

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91.

SONG: “THE LAST MAN STANDING” This is a world of organic music using instruments and objects from the bar - tankards and glasses and spoons; pianos, accordions, whistling. There is juggling, singing and dancing in the period styles of ragtime and waltzing- a raucous, colourful world. FROHMAN (CONT’D) (TO MR. HENSHAW) THE FIRST DAY OF REHEARSAL IS REALLY NOT AN EASY TASK ESPECIALLY WHEN YOUR CHARACTER IS ALWAYS BEHIND A MASK BUT MR. HENSHAW PLEASE BELIEVE ME WHEN I SAY TO YOU THERE’S NO ONE ELSE ON ANY STAGE COULD DO IT LIKE YOU DO (TO MISS POTTER) AND DEAR MISS POTTER PLEASE FORGIVE IF I’M MISUNDERSTOOD PLAYING A BOY IS IN NO WAY A SLIGHT ON YOUR WOMANHOOD WE NEED SOMEONE WE CAN BELIEVE CAN TEACH US ALL TO FLY AND YOU’RE THE ONE WE CHOSE AND THAT’S THE HONEST REASON WHY MISS POTTER I’m really not sure I’m up to it. MR. HENSHAW Don’t hide this face behind a mask! FROHMAN (TO SYLVIA AND BARRIE) DEALING WITH A THESPIAN IS NOT AN EASY JOB THE PROGRESS IS PEDESTRIAN AND THEY ACT MORE LIKE A MOB THIS IT SEEMS IS A THEATRICAL PRODUCER’S LOT RALLYING THE ACTORS SO THE SHOW WILL HAVE A SHOT FINDING WAYS TO MOTIVATE IS HARDER EVERY DAY WE NEED A CELEBRATION TO GET THEM EXCITED ABOUT THE PLAY A DRINKING GAME MIGHT DO THE JOB AND DRINK WILL STEM THE WOES LETS SING ALONG TO A SONG, THAT EVERYBODY KNOWS ... HERE WE GO... HEY HO HERE WE GO DOWN TO THE BOTTOM OF BOTTLE WE GO 4, 3, 2, 1 YOU GOTTA DOWN IT ALL IN ONE CROSS YOUR EYES AND TOUCH YOUR TOES ANYTHING HAPPENS ANYTHING GOES BE ALRIGHT BY THE END OF THE NIGHT THE LAST ONE STANDING IS THE WINNER Frohman goes from table to table, slapping backs and geeing up actors, arriving with Mr. Cromer.

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92.

FROHMAN (CONT’D) MR CROMER JOIN US NOW YOU’RE BACK ON SOLID GROUND IT MUST SEEM LIKE A CHALLENGE ALL THIS JUMPING AND FLYING AROUND AND IF YOU’RE FEELING LOST THAT IS EXACTLY WHAT WE NEED A LOST BOY NEEDS TO LIVE THE PART IF WE ARE TO BELIEVE MR TURPIN WE HAVE SO MUCH CONFIDENCE IN YOU FOR SOMEWHERE DEEP INSIDE I KNOW THAT YOU’RE A DARLING TOO HAVING TO PLAY THE PATRIARCH IS WHAT WILL BE REQUIRED JUST PLAY IT WITH INTEGRITY, WE ALL WILL BE INSPIRED ... NOW COME AND JOIN ME... HERE WE GO FROHMAN/ ACTORS HEY HO HERE WE GO DOWN TO THE BOTTOM OF BOTTLE WE GO 4, 3, 2, 1 YOU GOTTA DOWN IT ALL IN ONE CROSS YOUR EYES AND TOUCH YOUR TOES ANYTHING HAPPENS ANYTHING GOES BE ALRIGHT BY THE END OF THE NIGHT THE LAST ONE STANDING IS THE WINNER Frohman goes to Barrie and Sylvia’s table. FROHMAN (to BARRIE & SYLVIA) I’M GOING TO HAVE TO PACE MYSELF IF I AM TO SURVIVE THE WOMEN THAT FREQUENT THIS PLACE COULD EAT A MAN ALIVE A DRINKING GAME SEEMED LIKE A GOOD IDEA AT THE TIME BUT NOW I’M ALMOST LEGLESS AND IT’S ONLY HALF PAST NINE... SYLVIA MR. FROHMAN TAKE MY HAND AND SHOW ME HOW YOU DANCE FROHMAN WHY THAT WOULD BE MY PLEASURE IF YOU DARE TO TAKE THE CHANCE SYLVIA LET ME JOIN THIS DRINKING GAME, IT SEEMS LIKE LOTS OF FUN FROHMAN/ SYLVIA JOIN US JAMES, I KNOW THAT YOU CAN SHOW US HOW IT’S DONE BARRIE OK, HERE WE GO, HERE WE GO

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93.

BARRIE/ FROHMAN/ SYLVIA HEY HO HERE WE GO DOWN TO THE BOTTOM OF BOTTLE WE GO 4, 3, 2, 1 YOU GOTTA DOWN IT ALL IN ONE CROSS YOUR EYES AND TOUCH YOUR TOES ANYTHING HAPPENS ANYTHING GOES BE ALRIGHT BY THE END OF THE NIGHT THE LAST ONE STANDING IS THE WINNER A dance breaks out, with Sylvia letting her hair down and standing on the tables, getting involved merrily with the drinkers in the pub. Barrie stands back and watches her with utter amazement and awe. ALL HEY HO HERE WE GO DOWN TO THE BOTTOM OF BOTTLE WE GO 4, 3, 2, 1 YOU GOTTA DOWN IT ALL IN ONE CROSS YOUR EYES AND TOUCH YOUR TOES ANYTHING HAPPENS ANYTHING GOES BE ALRIGHT BY THE END OF THE NIGHT THE LAST ONE STANDING IS THE WINNER HEY HO HERE WE GO DOWN TO THE BOTTOM OF BOTTLE WE GO 4, 3, 2, 1 YOU GOTTA DOWN IT ALL IN ONE CROSS YOUR EYES AND TOUCH YOUR TOES ANYTHING HAPPENS ANYTHING GOES BE ALRIGHT BY THE END OF THE NIGHT THE LAST ONE STANDING IS THE WINNER THE LAST ONE STANDING IS THE WINNER SONG ENDS.

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94.

Sylvia collapses into Barrie’s arms, laughing. SYLVIA Oh, honestly, James, I never imagined laughing so much. BARRIE Well. Life is too absurd to take seriously after all. He helps her put on her coat, as the pub begins to clear. SYLVIA Well, one must take some things seriously. Life can’t all be fun and games, can it. BARRIE Can’t it? I’m starting to wonder. All the ties we bind ourselves with. All the expectations and pressures we place on our shoulders. No wonder grown-ups cannot fly. The pub dissolves into:

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95.

SCENE 3. STREETS OF LONDON The theatre district, London’s West End by night - revellers heading home, as Barrie and Sylvia tread the cobbled streets, continuing their conversation. INTRO MUSIC FOR: “WHAT YOU MEAN TO ME” BEGINS. SYLVIA Well. I feel lighter, anyway. How do you do it, James? Do what?

BARRIE

SYLVIA Nothing. Doesn’t matter. They’re walking, an awkward pause. A OLD MAN in a cloak is walking by with a stick. He hisses so only Barrie hears. HOOK (hidden) Psst. Kiss her. I’m sorry?

BARRIE

Hook whips off his hood to reveal himself, his stick turning into his sword. Sylvia is distracted, looking at the stars. HOOK I said kiss her, you coward! Go on. BARRIE How dare you! HOOK If you don’t I will. Phwoar! Barrie bundles him off, and then smiles to Sylvia like nothing happened. SYLVIA So beautiful. You forget. Yes.

BARRIE

SYLVIA (deep breath) I really honestly never imagined. Um. ‘Feeling’ something again. Not for a long time, if ever. BARRIE I... I know what you mean -

26/8/13 SYLVIA James, everyone in London knows who you are, you have a reputation that I’m pretty sure I’m not helping to BARRIE I don’t care. SYLVIA Well I do. It’s - people will think that, the way we’re... the manner in which we’re - that it’s wrong BARRIE It’s - it isn’t wr-- Look, what we’re, what I’m trying to say... (sighs)

96.

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97.

SONG: “WHAT YOU MEAN TO ME” BARRIE WHEN IT’S COLD, AND YOU KNOW WHEN THE WORDS RUN DRY. SYLVIA FEEL THE SAME, CAN’T EXPLAIN AND I CAN’T DENY BARRIE TURNING IN CIRCLES, AND BLURRING THE LINES THE UNSPOKEN IS CALLING US TONIGHT BARRIE/ SYLVIA I WONT LIE, I’M A LITTLE BIT FRIGHTENED OF MY IMAGINATION, SWEAR I’LL TRY, BUT I’M FEELING ENLIGHTENED, YOU’RE MY INSPIRATION WE CAN FLY IF WE WANT TO I PROMISE YOU FAITH CAN GIVE YOU WINGS JUST TAKE THE SECOND STAR ON THE RIGHT STRAIGHT AHEAD TILL THE MORNING LIGHT LET’S TAKE THE SECOND STAR ON THE RIGHT STRAIGHT AHEAD TILL THE MORNING LIGHT SYLVIA CLOSE YOUR EYES, WHEN YOU DREAM, THAT’S WHERE I WILL BE BARRIE MAKE IT TRUE, SAY YOU DO, SAY YOU DO BELIEVE BARRIE (CONT’D) THE GREATEST ADVENTURES ARE WAITING SO PATIENTLY ANGELS ARE CALLING US TONIGHT I WONT LIE, I’M A LITTLE BIT FRIGHTENED OF MY IMAGINATION, SWEAR I’LL TRY, BUT I’M FEELING ENLIGHTENED, YOU’RE MY INSPIRATION, WE CAN -

SYLVIA THE GREATEST ADVENTURES ARE WAITING AND THE ANGELS ARE CALLING US TONIGHT I WON’T LIE I’M A LITTLE BIT FRIGHTENED OF MY IMAGINATION I’LL TRY BUT I’M FEELING ENLIGHTENED YOU’RE MY INSPIRATION

BARRIE/ SYLVIA FLY IF WE WANT I PROMISE YOU FAITH WILL GIVE YOU WINGS JUST TAKE THE SECOND STAR ON THE RIGHT STRAIGHT AHEAD TILL THE MORNING LIGHT LET’S TAKE THE SECOND STAR ON THE RIGHT STRAIGHT AHEAD TILL THE MORNING LIGHT SYLVIA EVERY SHAPE AND ALL THE COLOURS ALL THE LOVE FROM ALL THE LOVERS NEVER COULD EXPRESS JUST WHAT YOU MEAN TO ME

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98.

BARRIE EVERY WORD IN EVERY SENTENCE DOESN’T SEEM TO MAKE A DIFFERENCE NOTHING CAN EXPLAIN JUST WHAT YOU MEAN TO ME BARRIE/ SYLVIA I WON’T LIE, I’M A LITTLE BIT FRIGHTENED, OF MY IMAGINATION, SWEAR I’LL TRY BUT I’M FEELING ENLIGHTENED YOU’RE MY INSPIRATION WE CAN FLY IF WE WANT TO I PROMISE YOU FAITH WILL GIVE YOU WINGS JUST TAKE THE SECOND STAR ON THE RIGHT, STRAIGHT AHEAD TO THE MORNING LIGHT JUST TAKE THE SECOND STAR ON THE RIGHT, STRAIGHT AHEAD TO THE MORNING LIGHT EVERY STAR THAT’S EVER FALLEN KNOWS THE WAY TO WHERE WE’RE GOING NOW I REALLY KNOW JUST WHAT YOU MEAN TO ME They arrive home at the Llewelyn Davies House. Barrie kiss Sylvia on the hand - and she disappears into the house. He steps away - and we see behind him, the boys, Michael, George, Jack and Peter spying through the window. Barrie turns to look up - and they duck down. He smiles, and goes. SONG ENDS.

26/8/13 SCENE 4. THE ENGLISH COUNTRYSIDE Barrie’s car motors through the green and pleasant land. Sylvia and the boys in the back, excited. GEORGE Wow! This is incredible! MICHAEL (standing) I’VE NEVER GONE SO FAST IN MY LIFE! SYLVIA Oh, it’s so lovely to be outside. I’m glad.

BARRIE

JACK I’ve never seen Porthos so happy. Porthos has his head in the wind, tongue lapping. JACK (CONT’D) You can see the clouds. All the different shapes - look, Michael. That one looks like the Loch Ness monster. RARRR! GEORGE No it doesn’t, it looks like a Soldier. CHARGE! MICHAEL That one looks like a knight on a horse! No, a knight on a DINOSAUR! PETER Where are we going Mr. Barrie? BARRIE I don’t know. Where would you like to go? JACK You’re asking us? BARRIE Yes, of course. You can go in any direction you like, as far as you’d like. History is full of those who have gone further than anyone before them. Explorers, discovers, fanatics, not your ordinary fellows. Dreamers, I guess you’d call them...

99.

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100.

SONG: “WE’RE ALL MADE OF STARS” BARRIE (CONT’D) YOU CAN BE ANYTHING YOU WANNA BE YOU CAN GO ANYWHERE YOU WANNA SEE A LITTLE HARD WORK AND YOU CAN DO IT FAITH WILL GET YOU THROUGH IT SO MANY POSSIBILITIES GEORGE I WANNA BE A DOCTOR! A LAWYER! A SAILOR! OR A SOLDIER!

JACK MICHAEL GEORGE

BARRIE BELIEVE IN YOURSELF AND REMEMBER WHAT I TOLD YA THE UNIVERSE HAS PLENTY OF SPACE AND THE GIFT THAT IT GAVE TO THE WHOLE HUMAN RACE IS THAT WE’RE ALL MADE OF STARS WE’RE ALL MADE OF DREAMS NO MATTER WHO YOU ARE BARRIE/ SYLVIA YOU CAN DO WHAT YOU WANT YOU CAN GO WHERE YOU LIKE YOU CAN BE WHO YOU WANTED TO BE GEORGE Well in that case I’ll be Prime Minister! And you all have to do what I say. JACK Not if I’m the King, I don’t. GEORGE Jack, the Prime Minister has more power than the King of England. JACK I didn’t say King of England! I meant King of Neverland! SYLVIA JUST CLOSE YOUR EYES AND TELL ME WHAT YOU SEE SO MANY DREAMS AND OPPORTUNITIES

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101.

SYLVIA/ BARRIE KEEP ON CLIMBING WITH PERSISTENCE THE PATH OF MOST RESISTANCE LEADS YOU TO THE TOP OF THE TREE. JACK I WANNA BE A PAINTER! A MAGICIAN! A WRITER... A MUSICIAN!

MICHAEL PETER GEORGE

SYLVIA/ BARRIE THE RACE IS GONNA START SO TAKE UP YOUR POSITION SYLVIA/ BARRIE (CONT’D) THE UNIVERSE HAS PLENTY OF SPACE

AH

CHORUS

SYLVIA/ BARRIE (CONT’D) AND THE GIFT THAT IT GAVE TO THE WHOLE HUMAN RACE IS THAT... BARRIE/ SYLVIA/ BOYS/ CHORUS1 WE’RE ALL MADE OF STARS WE’RE ALL MADE OF DREAMS NO MATTER WHO YOU ARE

CHORUS 2 MADE OF STARS MADE OF DREAMS

ALL YOU CAN DO WHAT YOU WANT YOU CAN GO WHERE YOU LIKE YOU CAN BE WHO YOU WANTED TO BE GEORGE IF A DOCTOR CAN SAVE ONLY JUST ONE LIFE FROM PAIN AND FROM MISERY THAT’S WHAT I WANNA BE JACK I WOULD SAIL US AROUND THE WORLD A LIFE OF DISCOVERY THAT IS THE LIFE FOR ME PETER IF I COULD WRITE EVERY SINGLE DAY I WOULD WRITE ALL MY CARES AWAY I’D BE LEADING A DIFFERENT LIFE A WONDERFUL LIFE

MICHAEL

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102.

JACK Why would you want to be a doctor that’s so boring! GEORGE Well you can’t be a sailor, you get sick in the bath tub. A MAGICAL LIFE

MICHAEL/ PETER

FAMILY BAH-BAH-BAH-BAH.... YOU COULD DO WHAT YOU WANT YOU CAN GO WHERE YOU LIKE YOU CAN BE WHO YOU WANTED TO BE ALL WE’RE ALL MADE OF STARS WE’RE ALL MADE OF DREAMS NO MATTER WHO YOU ARE YOU CAN DO WHAT YOU WANT SEE WHAT YOU LIKE YOU CAN BE WHO YOU WANTED TO BE BARRIE BE WHAT YOU WANNA BE...

THE MUSIC CONTINUES, UNDERSCORING: The car arrives in a beautiful spot. The boys scramble out. Barrie offers to help Sylvia -

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103.

BARRIE (CONT’D) Will you be alright, it’s quite muddy. SYLVIA Well of course it’s muddy, James, it’s nature. She leaps out and splashes her feet onto the ground. SYLVIA (CONT’D) The countryside without a bit of muck, it’s like apple pie with no cream. She goes off running after the boys - Barrie watching her, once again taken aback by her carefree approach. A picnic is set up, and a ‘playing area’ for the play. GEORGE Right, I’m the producer, and you have to do what I say. I want the seats set up there, and the stage facing this way. As it’s being set up, Barrie is with Peter. MUSIC FADES OUT: PETER I don’t want to do it anymore. BARRIE What? You mean your play, why not? PETER It’s fine just on paper but when it gets spoken out loud and people hear it, it becomes real. BARRIE But Peter, what you don’t seem to realise is that you’ve written one play already. Mine. PETER Yours? No, that was you. BARRIE I may have transcribed the thing onto paper, set it down, but that’s the easy part. It came from you. All of you. And that’s why... if you don’t mind me asking... that’s why I have a favour to ask you.

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What?

104.

PETER

BARRIE My main character. The boy. He’s in need of a name. And I wondered if perhaps he might take yours. Peter?

PETER

BARRIE Would that be alright? Peter is overcome, but tries to be brave. He nods, seriously. PETER Yes, that would be acceptable. Barrie grins, and they hug each other tightly. Peter goes to join his brothers. Barrie and Sylvia sit. MICHAEL (to them) Good evening, I am the usher, may I take your tickets please. BARRIE Oh. I’m so sorry, I’m afraid I don’t think we were given tickets. MICHAEL Oh no I forgot to give them the tickets! JACK Give them the tickets then! MICHAEL (searching in his pocket) Here are the tickets. BARRIE (taking them) Thank you. MICHAEL May I have you tickets please. BARRIE Of course, here. MICHAEL (taking them) Thank you. Drum roll!

JACK

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105.

Jack bangs on some drums, joyously loudly. Jack.

GEORGE

Jack continues Jack!

GEORGE/ MICHAEL

Jack finishes. Peter steps forward... narrating from his notebook. PETER “The Lamentable Tale of Lady Ursula” - a play in one act by Peter Llewelyn Davies. (embarrassed again) It isn’t to be taken seriously really, it’s just a bit of silliness. BARRIE I would expect nothing less. Go on. PETER (deep breath) “One morning, just after sunrise, Lady Ursula made her way up the steps of the Cathedral to play”. The boys act out what he describes behind him - Michael stepping forward in costume as Lady Ursula, causing Barrie and Sylvia to laugh. For Sylvia, this begins to develop into a cough which she tries to control. MICHAEL Quiet in the stalls! SYLVIA I’m terribly sorry. MICHAEL That’s alright. PETER “Suddenly the gargoyle that guarded the sacred structure came to life.” JACK “GRRRR! Who goes there?” PETER “The gargoyle swooped down and lifted her up off the ground. They flew, up into the air, into the spires of the Cathedral --”

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106.

Sylvia coughs heavily, but seems to get control. Mother?

PETER (CONT’D)

SYLVIA It’s alright Peter, go on. PETER “Meanwhile, a brave knight road into the city on his stallion...” They incorporate Porthos as the ‘stallion’. BARRIE Porthos! Stealing the limelight as ever... But gradually, Sylvia’s coughing spell is turning into an all out fit, and she begins struggling for air. THE MUSIC CUTS OUT. The boys rush over, except Peter, shocked, who just watches. Mother?!

GEORGE

JACK Are you alright? MICHAEL What’s wrong? BARRIE It’s alright, give her some space. Sylvia? SYLVIA (gasping) I’m -- fine. Don’t fuss! She coughs into Barrie’s handkerchief, which he takes - he sees that it’s covered in blood. He pockets it, hiding it from the boys. MICHAEL Is this a game? Barrie gathers Sylvia up in his arms and lifts her. BARRIE No Michael, it isn’t a game. Your mother will be fine but we must get her to a doctor. Come on.

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107.

They exit toward the car. Peter is left alone, amongst the detritus of the play. The lights gather around him, as though he is frozen momentarily in time. He takes off his little hat, and stares at the journal in his hand. George runs back, taking Peter’s hand. GEORGE Come on, Peter! We have to go! They run off.

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108.

SCENE 5. THE LLEWELYN-DAVIES HOUSE Sylvia’s bedroom. Sylvia is in bed, a DOCTOR is leaving as Barrie knocks and enters. Hello?

BARRIE

SYLVIA Oh James, really, all this bother over a silly chest cough? I’m sorry I ruined your day out. I hope the boys are alright. BARRIE The boys will be fine. SYLVIA Nothing to worry about, ey? you say, life is too absurd taken seriously. Don’t look glum, you’re here to be the the jester. Isn’t this just silly adventure?

Like to be so clown, another

BARRIE (trying, waving his arms) Ye-ah, hah, just a silly old... He stops. He can’t do it anymore. He suddenly looks more like a grown-up again, returning in front of us... BARRIE (CONT’D) Sylvia. I saw the handkerchief. SYLVIA Leave it, James BARRIE What did the doctor say? SYLVIA That’s private. Sylvia.

BARRIE

He sits beside her. And holds her hand. She resists momentarily, and then breaks. He holds her. And she holds him back. SYLVIA Please. I won’t put the boys through it all again. (MORE)

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109.

SYLVIA (CONT'D) The doctors and the hospitals, the treatments and the waiting rooms, I won’t do it. If it is to happen, it will happen in my own way. For their sake... BARRIE (beat. Nods) ... whatever you want. SYLVIA (bravely, smiling) Well, what I do want is some supper, I’m famished. Be a dear and go see what they boys would like, I think they deserve a treat. Barrie, still a little uncertain, nods, and steps into: The Sitting Room: Peter is there, waiting for him. PETER You said she would be alright. BARRIE ... She will be, Peter. PETER DON’T LIE TO ME!! Why are grown-ups always lying to me?!! ...

BARRIE

PETER And you’re the biggest liar of the lot! Dogs that can be circus bears, wash tubs that can be boats. You’ve even got me doing it! He takes his notebook and holds it as though he’s about to begin tearing pages out, threateningly. BARRIE Peter, please. Don’t. PETER What did you and mother decide to tell us this time? That’s it’s just a chest cold? BARRIE We didn’t decide anything -

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110.

PETER Father might take us fishing, that’s what she told us last time. As soon as he’s back on his feet. As soon as he’s better. Well I won’t be lied to again! BARRIE (pause) ... You’re mother isn’t very well. PETER Is she going to die? Long pause. Barrie struggling... BARRIE I don’t know. (beat) Your moth-... Peter, I hope you know how much your mother has grown to, to mean to.. and that I will try everything, everything, to He begins tearing pages out of the book. BARRIE (CONT’D) Please don’t... He stops tearing and drops the book on the floor. He then holds his stomach, like he’s got a pain. PETER It’s like a stomach ache. But you can take medicine for stomach aches, mother gives us it, and even though it taste disgusting, it helps. But this is different. And it never seems to go. How can I make it go..? Barrie kneels down to him...

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111.

SONG: “WHEN YOUR FEET DON’T TOUCH THE GROUND”. BARRIE WHEN DID LIFE BECOME SO COMPLICATED YEARS OF TOO MUCH THOUGHT AND TIME I WASTED AND IN EVERY LINE UPON MY FACE IS PROOF I’VE FOUGHT AND LIVED ANOTHER DAY WHEN DID LIFE BECOME THIS PLACE OF MADNESS DRIFTING ON AN EMPTY SEA OF WAVES AND SADNESS I MAKE BELIEVE I’M IN CONTROL AND DREAM IT WASN’T ALL MY FAULT WHEN YOU’RE FEET DON’T TOUCH THE GROUND WHEN YOUR VOICE WON’T MAKE A SOUND HERE IT’S SAFE, IN THIS PLACE ABOVE THE CLOUD WHEN YOUR FEET DON’T TOUCH THE EARTH YOU CAN’T FEEL THE THINGS THAT HURT AND YOU’RE FREE, THERE’S NO NEED TO COME DOWN, WHEN YOUR FEET DON’T TOUCH THE GROUND. PETER EVERY DAY JUST FEELS A LITTLE LONGER WHY AM I THE ONLY ONE NOT GETTING STRONGER RUNNING AROUND PRETENDING LIFE’S A PLAY DOESN’T MAKE THE DARKNESS GO AWAY I MAY BE YOUNG BUT I CAN STILL REMEMBER FEELING FULL OF JOY CRYING TEARS OF LAUGHTER NOW ALL MY TEARS ARE ALL CRIED OUT MAKE BELIEVE BUT COUNT ME OUT COS MY FEET ARE ON THE GROUND AND THE INNER VOICE I FOUND TELLS THE TRUTH, THERE’S NO USE IF YOU HEAD’S IN THE CLOUDS WITH MY FEET ON SOLID EARTH I CAN FACE THE THINGS THAT HURT AND IN TIME, I’LL BE FINE I’LL COME ROUND. BARRIE I WAS ONCE LIKE YOU LIFE WAS A MAZE BUT I COULDN’T FIND MY WAY OUT IF WHAT I SAY IS TRUE YOU’LL BE AMAZED MAKE BELIEVE IN YOU WE’LL FIND OUT THAT IT’S TRUE PETER I KNOW THAT IT’S TRUE

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112.

BARRIE WHEN YOUR FEET DON’T TOUCH THE GROUND WHEN YOUR VOICE WON’T MAKE A SOUND HERE’S IT’S SAFE, IN THIS PLACE ABOVE THE CLOUDS

PETER WHEN MY FEET TOUCH THE GROUND WHEN MY VOICE MAKES A SOUND IT TELLS THE TRUTH THERE’S NO USE FOR CLOUDS

BARRIE WHEN YOUR FEET DON’T TOUCH THE EARTH YOU CAN’T FEEL THE THINGS THAT HURT AND YOU’RE FREE, THERE’S NO NEED TO COME DOWN

PETER WHEN MY FEET TOUCH THE EARTH I CAN FACE WHAT HURTS AND I AM FINE, AS LONG AS I AM DOWN

BARRIE WHEN YOUR FEET DON’T TOUCH THE GROUND WHEN YOUR FEET DON’T

PETER WHEN ME FEET TOUCH THE GROUND TOUCH THE GROUND

Peter throws his arms around Barrie. They hold each other... Lights fade.

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113.

SCENE 6. DUKE OF YORK’S THEATRE The rehearsals - now well under way. SONG: “FIRST DAY” (reprise) ALL THIS IS THE LAST DAY, TOMORROW'S OPENING NIGHT THIS IS THE LAST DAY WE HAVE TO GET IT ALL RIGHT WE'LL BE PLAYING FOR THE GENTLEMEN, THE LADIES AND LORDS MISS BASSETT / MR HENSHAW AND PRAYING TO THE PATRON SAINT OF 'TREADING THE BOARDS' ALL WE'VE COME A LONG WAY NOW IT'S TIME TO BEGIN BACK ON THE FIRST DAY WE WERE GOING TO GIVE IN BUT WE THINK THAT THIS IS MR BARRIE'S VERY BEST SHOW JUST THE LAST DAY TO GO... MUSIC UNDERSCORES: Bits and piece of set have been assembled. Many of the company are in costumes. Miss Potter is dressed akin to Peter Pan, Mr. Cromer as young ‘Michael’, Mr. Turpin as ‘Darling’. Barrie takes in the scene - trying to focus on work. BARRIE Wow. You’re all ... you’re all coming to life before my eyes. Mr. Henshaw, could you come out please? A reluctant Mr. Henshaw enters from the wings in his dog costume, carrying his ‘head’ under his shoulder. MR. CROMER (enjoying it) Oh, Robert. Are you alright? MISS BASSETT Don’t worry, his bark is worse than his bite. MR. HENSHAW (putting his head on) Jolly warm, you know. BARRIE So, we open with Nana entering the nursery. Beat. Mr Henshaw ‘walks’ upright into the scene in his dog outfit, as though he were playing Macbeth or something.

26/8/13 BARRIE (CONT’D) Like a dog, Mr. Henshaw. On all fours? MR. HENSHAW I was going for something a little more expressionistic. BARRIE All fours please, Mr. Henshaw. Beat. He reluctantly gets on all fours. Mr Cromer enters as ‘Michael’ enters into the scene. MISS CROMER “I won’t go to bed! I won’t, I won’t! Nana, it isn’t six o’clock yet.” Mr. Henshaw stands, in need of ‘directions’. BARRIE And Mr. Cromer, in playing ‘Michael’, it is important to remember to be entirely natural. Because the thing about children is that they’re not acting, in the way that grown-ups are. And so the key to acting as a child is not to act.

114.

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115.

MR. CROMER So you want me to not-act. Yes.

BARRIE

MR. CROMER (thinks. beat. thinks) “I won’t be bathed” BARRIE Less, smaller. MR. CROMER ... “I tell you I won’t be bathed”. Smaller.

BARRIE

He stops speaking, just moving very slowly. BARRIE (CONT’D) Smaller, still. He slows to stop, doing nothing. Pause. BARRIE (CONT’D) That’s perfect. Very nice.

MR. HENSHAW

MISS BASSETT That’s some of the best not-acting I’ve ever seen. Frohman wanders over to Barrie, looking through a new draft. FROHMAN Can you picture it, James, the night after tomorrow, the pillars of society arriving here to see theatre, what we ‘call’, theatre, and - what is it, it’s child’s play. BARRIE (thinking) You’re a genius, Charles. I need you to keep 25 seats free, spread around the auditorium. FROHMAN 25?! Who’s paying for them. No one.

BARRIE

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FROHMAN Of course not James, I’ll just believe long enough and hard enough that I’ve made my money back and poof. Beat. Barrie nods. Elliot comes over. ELLIOT We caught another one trying to sneak in through the window, Mr. Frohman. MISS BASSETT Who’s trying to sneak in? ELLIOT Journalists. MR. HENSHAW (gasping) Oh good lord! FROHMAN Mr. Henshaw, pause. Mr. Henshaw holds up his ‘paws’. FROHMAN (CONT’D) No, pause, as in stop, silence. Please, you all have nothing to fear, people are just curious and intrigued by our new show, it’s a positive thing. James - continue. BARRIE Right. Darling? MR. CROMER/ MR. HENSHAW/ MISS POTTER (all together) Yes, darling? BARRIE Mister Darling. You enter next-MR. CROMER (privately with Frohman) I don’t know what all this notacting malarky is, Mr. Frohman. I happen to a wonderful actor. FROHMAN Well don’t worry, your secret is safe with me. END OF UNDERSCORE.

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117.

SCENE 7. LLEWELYN DAVIES HOUSE Barrie arrives at the front door in top hat and tails, dressed for opening night. Madame Du Maurier answers, the boys behind her. BARRIE Hello. I’m here to collect Sylvia and the boys. The theatre awaits. MADAME DU MAURIER Well then it will have to wait. Upstairs, children, I want to speak with Mr. Barrie alone. MICHAEL (as he’s led away) Is he in trouble, because I’ve been alone with grandmother, and I know what it’s like... MADAME DU MAURIER Mr. Barrie, I warned you before, and you didn’t listen. And look what happened. She is nowhere near strong enough to attend the opening night of a silly play George arrives, behind her. GEORGE Grandmother? BARRIE May I see her, at least? GEORGE Come in, Mr. Barrie. MADAME DU MAURIER No. George, the grown-ups are talking. He’s not coming in GEORGE (sternly) Don’t speak to me like I’m a child. This isn’t your home, it’s our home. And if mother wants to see Mr. Barrie then that is her choice, do you understand? She’s momentarily lost for words. George shows Barrie in.

Sylvia’s Bedroom: Barrie follows George in to see that none of them are ready.

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BARRIE Hello? No one is dressed. SYLVIA See I told you all, you must be quick, you have a play to go see. BARRIE But what about you? SYLVIA I’m so sorry, James. Really. I think I may have to sit this one out. But the boys GEORGE No, wait. We’ve had a discussion. SYLVIA A discussion? Have you now? GEORGE Yes, it’s how grown-ups decide things. They discuss them. And we have decided that we’re not going either. Not without you. SYLVIA Boys, no, your special night. JACK We mean it. It’s been decided. Sorry, Mr. Barrie. They look to Barrie, who nods and tosses aside his hat and cane and begins undoing his untie. BARRIE Very well. Neither am I. What?

BOYS

BARRIE No, I would rather be here, with you all. Much more fun. SYLVIA James, your opening night BARRIE It’s meaningless. The real stars of the show are here. Hooray!

BOYS

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No!

119.

SYLVIA

Everyone turns. SYLVIA (CONT’D) I mean it! Sometimes you men, however ‘grown-up’ you think you are, need a sensible woman to tell you how things are. Mr. Barrie must go to his play, and I insist that one of you accompany him. After all, I require a full report. Now, which one of you is going? A silence. Peter. No, wait -

GEORGE PETER

JACK Yes. Peter. MICHAEL Peter, should go. SYLVIA Well then we’ll have to get him dressed. GEORGE I’ll get his jacket. JACK I’ll get his shoes. MICHAEL I’ll get his ticket! Barrie and the brothers run out to get Peter’s things, while Peter stays with Sylvia. MUSIC “STAND” BEGINS. PETER I want to stay with you. SYLVIA Let me show you something. She removes a notebook - his notebook - from under her pillow. The one he wrote his play in.

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PETER (taking it) My play? You taped it back together. SYLVIA I have never been so proud of you. PETER It’s just a silly play. It’s not important... SYLVIA You have to stop fighting the world, Peter. (touching his face) Please. Go to the play... Beat. Peter nods. And they hold each other. MUSIC: “OPENING NIGHT” The family begin getting Peter and Barrie ready for the show.

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121.

SCENE 8. DUKE OF YORK’S THEATRE SONG: “OPENING NIGHT” Backstage: Set is flown in, actors are dressing (and stressing). ACTORS/ CREW/ GROUP 1 HERE WE GO LIGHTS DIM LOW LOW FOR THE SHOW GROUP 3 HEART RACES OPENING NIGHT AGAIN

TONIGHT OUR NIGHT

GROUP 2

GROUP 4 BREATHE CRY FEAR FLY SWEAT SMILE SPEAK BILE THINK WHILE OPENING NIGHT AGAIN

ALL OPENING NIGHT AGAIN. FROHMAN IT’S THE MOMENT THE ONE THAT WE’VE BEEN WAITING FOR ALL THE SWEAT AND TEARS AND MORE WILL ALL BE WORTH IT NOW I’M SURE CAN YOU FEEL THE ANTICIPATION IN THE AIR IT’S THE BEST WE’VE DONE I SWEAR COULD BE THE WINNER OF THE YEAR OH ALL THE YEARS I HAVE WAITED FOR THIS THIS ONE NIGHT IS EVERYTHING NEVER SURE NOW I KNOW IT FOR CERTAIN RAISE THE CURTAIN TIME FOR IT TO BEGIN Front of House: Barrie in his tuxedo, and Peter in his little one, arrive at the theatre. PATRONS and AUDIENCE MEMBERS milling about. Frohman welcoming them (noticeably more nervous than last time). Barrie joins him. THE MUSIC UNDERSCORES: Charles?

BARRIE

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FROHMAN How do I look James, do you believe this smile, does it say to you “you can trust me, please don’t walk out, for the love of God, please”? BARRIE Did they arrive? FROHMAN Did who arrive? BARRIE The twenty-five? FROHMAN Yes. They did. BARRIE WONDERFUL! Did they look happy? FROHMAN Of course they did, they have the best seats in the house for no money, I would look happy. BARRIE You won’t regret it. Come on, Peter, it’s starting! We’ll watch from the best place in the house. They run off. A drum roll as the plush red curtain falls, Frohman steps out. A mirror image of the opening - only Frohman’s fixed producer grin and patter doesn’t hide his absolute fear at what’s about the happen... FROHMAN Ladi-... (clears his throat) Ladies and gentleman. Hello. And, uh, welcome. To our ... our ‘play’. Thank you for coming. Lots of familiar faces I see. Fathers and husband’s, dragged to the erm... everyone all dressed up, looking... He wipes his forehead, sweating. FROHMAN (CONT’D) And some unfamiliar faces, too. I do believe that we’re joined this evening by some very important guests... from Great Ormond Street hospital. Children, if you’d like to give us a wave.

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He encourages those children in the crowd who have been ‘chosen’ as ORPHANS to wave. Lights pick out some of them. FROHMAN (CONT’D) You’re most welcome. Because tonight - I’m positive - will be... memorable. I just know that you’ll all be ... all be talking about it. For quite some time. So... Welcome. To the opening night... ... of PETER! PAN! Backstage. Charles is with Barrie and Peter. SONG: “OPENING NIGHT” CONTINUES BARRIE I CAN FEEL THE ADRENALINE RUSH THROUGH MY VEINS EVERYTHING I KNEW HAS CHANGED ALL MY DOUBTS HAVE BEEN REPLACED PETER I AM WITH YOU AND I CAN SEE IT THROUGH YOUR EYES ALL YOUR DREAMS HAVE COME TO LIFE I FEEL SO PROUD OF YOU TONIGHT BARRIE/ PETER/ FROHMAN OH ALL THE YEARS I’VE BEEN DREAMING OF THIS ONE NIGHT IS EVERYTHING NEVER KNOWING FOR SURE BUT OH THIS TIME I KNOW THIS SHOW IS WHAT I’VE BEEN WAITING FOR... Behind the gossamer curtain we see, as DANCING SHADOWS, excerpts and images from the show in a speedy montage. Frohman puts a hand on Barrie’s shoulder. Listen...

FROHMAN

Laughter. It starts as a ripple, and then grows distorted, exaggerated, and loud! Mr. Henshaw runs from off the stage, removing his dog mask. MR. HENSHAW They love me! I’m funny. I’m actually funny!! He runs back on. Elliot comes over. ELLIOT They’re cheering, Mr. Frohman. Actually cheering!

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124.

He runs off. Frohman and Barrie hug. Peter smiles. SONG: “OPENING NIGHT” CONTINUES ALL OPENING NIGHT AGAIN AND I CAN NOT EXPRESS EXCITEMENT AND NERVOUSNESS I KNEW THIS WOULD BE A SUCCESS CAUSE IT IS OPENING NIGHT AGAIN AND WE ARE STANDING STRONG THIS IS WHERE WE ALL BELONG I GOT A FEELING IT’S THE ONE WITH ONLY ONE NIGHT WE’LL ADDRESS EXCEEDING EVERY EXPECTATION OPENING NIGHT AGAIN OH OH OH OPENING NIGHT AGAIN COS ONLY ONE NIGHT’S ALL WE NEED DELIVERING EXHILARATION OPENING NIGHT AGAIN BARRIE/ FROHMAN AT THE START OF THE SHOW WHEN NOBODY KNOWS JUST WHAT TO EXPECT OR BELIEVE THE TENSION IS HIGH AND THE SILENCE IS LOUD AND IT’S GETTING MUCH HARDER TO BREATHE BARRIE/ FROHMAN (CONT’D) AND YOU’RE WAITING FOR THE SOUND OF THEIR LAUGHTER AND YOU’RE WAITING TO CELEBRATE AFTER WAITING FOR SIX HUNDRED PEOPLE TO MAKE UP THEIR MINDS

AH AH

ACTORS/ CREW

ALL OH THAT’S OPENING NIGHT

After the show, Frohman, Barrie and Peter arrive at the Front of House where AUDIENCE members give them a cheer. Mrs Snow from the opening marches up to Barrie. MRS. SNOW (sternly) Mr. Barrie. I have to tell you... (melting) ... that was one of the most magical evenings of my life.

26/8/13 BARRIE I’m so pleased, Mrs. Snow. And your husband? MRS. SNOW I’m afraid he passed. I’m sorry.

BARRIE

MRS. SNOW Me too. He would have loved this. He really was just a boy himself, you know. To the very end. Mary approaches Barrie. MARY Congratulations. BARRIE I’m so glad you came. And... I’m sorry. MARY For what? You needed to write this play, James. You needed that family. It’s the best you’ve ever written. Canon comes over. Mary?

CANON

MARY Yes, I’ll be right with you. BARRIE (smiles) Is he good to you. Are you happy? MARY ... yes. A real grown-up. BARRIE I’m so pleased. You got what you always wanted. To be with a real grown-up. CANON (childishly) Ma-ary, I’m ti-red. MARY ... yes. A real grown-up

125.

26/8/13 ALL OPENING NIGHT AGAIN THE AUDIENCE ADORED LAUGHED AND CRIED AND CHEERED FOR MORE THE ONE WE’LL BE REMEMBERED FOR IT WAS OPENING NIGHT AGAIN AND NOW THE WORK IS DONE CELEBRATE AND HAVE SOME FUN FROHMAN I KNOW THAT THIS WILL RUN AND RUN ALL THIS IS THE ONE NIGHT WE ACHIEVED BEYOND OUR EVERY EXPECTATION OPENING OPENING OPENING OPENING SONG ENDS!

NIGHT NIGHT NIGHT NIGHT

AGAIN AGAIN AGAIN AGAIN!

126.

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127.

SCENE 9. THE LLEWELYN-DAVIES HOUSE Sylvia is up in bed, Madame Du Maurier and the other boys helping her. MADAME DU MAURIER That’s it, get her feet. And she’ll need more blankets. Peter rushes in, holding his programme. He leaps onto the bed, and hugs his mum tightly. SYLVIA Oh, Peter?! GEORGE How was it?! SYLVIA Yes, how was it?! He just keeps hugging his mum for a while longer. PETER It was perfect. Barrie enters in, and Peter smiles at him. SYLVIA James, shouldn’t you be at a party celebrating? BARRIE There’s nowhere else but here. With you lot. Who inspired it all. JACK Well it’s Peter’s play. The boy who wouldn’t grow up. PETER That isn’t me. (at Barrie) That’s him. He’s Peter Pan. Barrie - perhaps only realising this for the first time too. PETER (CONT’D) He just has my name. And it’s the best present any boy was ever given, anywhere in the world. BARRIE (smiling. At the boys) Go on, boys. Go get ready. The boys run out, excited.

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128.

SYLVIA Get ready for what? BARRIE You’ll see. SYLVIA Oh James. Still full of surprises. He sits on the bed next to her - and suddenly, without the boys, the mood changes... He moves his hand, and places it softly on hers. SYLVIA (CONT’D) You will look after them. Won’t you, James? BARRIE (only half-joking) Who’ll look after me? Without you... SYLVIA I need to know that they’ll be alright. BARRIE ... they will be. I promise. I promise stronger than I’ve ever promised anything in my life. He touches her face, and she touches his. Michael shouts from offstage MICHAEL (O.S.) We’re ready? Come on.

BARRIE

Barrie helps her up, as the room dissolves into: The Nursery. The boys, and Frohman, and Elliot and the Actors, have transformed it into a makeshift stage - getting ready still. James!

SYLVIA

Madame Du Maurier is pacing around concerned. MADAME DU MAURIER Be careful! Don’t damage anything. (at Barrie) Your idea, I imagine?

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129.

MR. HENSHAW God, look at this place. Still, I’ve played worse. Porthos arrives next to him - the fake dog and the real dog, together. MR. HENSHAW (CONT’D) Are you my understudy? Darling, where did you train? SYLVIA James, I don’t understand. BARRIE We’ve just had our dress rehearsal, isn’t that right Charles? FROHMAN Yes, and it went well by all accounts. But this -- this is the real opening night, my dear. The stage manager flicks on the light, and the room is suddenly transformed.

SONG: ALL OF US MUSIC UNDERSCORES THESE OPENING EXCERPTS. We embark on a rash-dash montage of Peter Pan. BARRIE Act One, Scene One. A nursery... The Darling House. And look, see?, preparing the beds is Nana, a Saint Bernard dog, because the Darlings couldn’t afford a real Nanny. Nana (Mr Henshaw) enters and begins making the beds. BARRIE (CONT’D) Then here comes the Darling brothers, and Wendy too. ** Michael (Mr Cromer) runs on with the others. “MICHAEL” I won’t go to bed, I won’t, I won’t.

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130.

SYLVIA I RECOGNIZE THIS SCENE THIS SETTING RINGS A BELL GEORGE I KNOW THESE BROTHERS WELL PETER IT’S ALL OF US. BARRIE And then the most amazing boy flies in the through the window. Right, Peter? MICHAEL IT’S A BEDROOM JUST LIKE OURS. PETER A BOY WHO HAS MY NAME. JACK THOUGH DIFFERENT ALL THE SAME. IT’S ALL OF US.

SYLVIA/ MADAME DU MAURIER IT’S ALL OF US.

** Peter and Wendy kneeling together on the floor. “WENDY” I shall give you a kiss, Peter, if you like. “PETER” Thank you. (holds out his hand) “WENDY” Don’t you know what a kiss is? “PETER” I shall know one when you give it to me. BARRIE And so not to hurt his feelings, Wendy gives Peter a thimble for his finger. “PETER” Now shall I give you a kiss? “WENDY” If you please. BARRIE And he gives her a button from his clothes.

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131.

“WENDY” Thank you, Peter. I shall wear it on a chain around my neck. MICHAEL That’s not a kiss, even I know that! JACK That’s the point! SYLVIA A TAPESTRY OF DREAMS THE MOON-LIGHT IN OUR YARD QUITE LIKE AND YET NOT QUITE THE WAY IT WAS PETER/ MADAME DU MAURIER THE GRAND-MOTHER, IT SEEMS, HAS BECOME A SAINT BERNARD. PETER I UNDERSTAND NOW WHAT A WRITER DOES

SYLVIA/ GEORGE/ MICHAEL/ JACK HMM HMM HMM

PETER This next bits really good. Peter’s showing them all how to fly. “PETER” You just think wonderful thoughts, they lift you up in the air. BARRIE And the windows of the nursery fly open, and Peter, and Wendy, and the boys lift up off the ground! And out they go, whoosh! Across London (MORE)

26/8/13 BARRIE (CONT'D) look, Big Ben! And the Thames! And Kensington Gardens! But which way is Neverland?! PETER/ GEORGE/ JACK/ MICHAEL Second star to the right! SYLVIA THAT WINDOW TO THE STARS WHERE I MYSELF HAVE STOOD MADAME DU MAURIER MY DAUGHTER AS THE GIRL SHE WAS BEFORE.

131A.

26/8/13 SYLVIA THE GIRL I WAS BEFORE. GEORGE/ MICHAEL WHO KNEW THAT OUR LIVES WERE SO MYSTERIOUS. PETER/ MICHAEL/ MADAME DU MAURIER IT’S ALL OF US. ALL OF US.

SYLVIA/ JACK

MICHAEL AND ALSO MORE. BARRIE But beware, in Neverland their lurks the most heartless, dastardly and - to be fair - devilishly handsome rogue that ever lived. Captain James Hook. “HOOK” Peter flung my arm to a crocodile! He liked it so much, Smee, that he has followed me ever since. From sea to sea and from land to land, he follows the ship, licking his lips for the rest of me. “SMEE” In a way it’s a sort of compliment. JACK I’m going to knock his block off! MADAME DU MAURIER Later, Jack. ‘HOOK/ SMEE” Aaahhh!! The crocodile! The crocodile appears. They scream and run off. GEORGE And Indians! Like in our garden! BARRIE That’s Tiger Lily. Tiger lily runs on chasing the pirates. She runs off. And then the Lost Boys run on, chasing her. BARRIE (CONT’D) And these... these are the Lost Boys, who live under a Great Tree.

132.

26/8/13 “SLIGHTLY” My mother was fonder of me than your mothers were of you. Peter had to make up names for you, but my mother had wrote my name on the shorts I was lost in. “Slightly Soiled” - that’s my name. BARRIE And Peter, look! PETER It’s Tinkerbell. I invented her. “TOOTLES” Tinkerbell says to shoot the Wendy. BARRIE As Wendy and Peter and boys arrive into Neverland, but “PETER” Wendy! Wendy! And an arrow in her heart!” Oh no!

MICHAEL

PETER Don’t worry, Michael. “PETER” She lives! See, the arrow stuck against this. It’s a kiss I gave her. It has saved her life! Pirates!

“SLIGHTLY”

BARRIE A sword fight between Hook and Peter! En garde! Parry! Thrust! GEORGE Come on, Peter! Kill him!

MICHAEL

GEORGE THE DAY OUR CAR GOT LOST JACK THE HOUSE WE REARRANGED

133.

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134.

PETER A FAIRY LIKE OUR HUMMINGBIRDS AT DAWN SYLVIA THE THIMBLE THAT’S A KISS ARE THE LETTERS WE EXCHANGED MADAME DU MAURIER REMINDS ME OF THE GYPSIES ON THE LAWN.

REMINDS ME.

SYLVIA

GEORGE/ PETER/ MADAME DU MAURIER THE CHARACTERS WE PLAYED IN COSTUMES THAT WE MADE

SYLVIA/ JACK/ MICHAEL ALL OF US

SYLVIA (CONT’D) THE WONDERMENT ALL AROUND US WE IGNORE WHO KNEW THAT OUR LIVES WERE SO MYSTERIOUS! HOW STRANGE TO FEEL ALL AT ONCE AMAZED BY US!

MADAME DU MAURIER THE WONDERMENT ALL AROUND WE US IGNORED

ALL OF US ALL OF US ALL OF US

PETER ALL (EXCEPT PETER) PETER

MICHAEL AND ALSO MORE... BARRIE And now Wendy is trying to comfort the Lost Boys, because they miss their mothers... “1ST TWIN” It’s awfully sad. “2ND TWIN” I don’t see how it can have a happy ending. Do you? Peter holds his stomach, crying out in pain. “WENDY” Peter, what is it? Where is it? “PETER” It isn’t that kind of pain...

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“1ST TWIN” You’re not to leave us, Wendy. BARRIE And when all the boys and Wendy have been kidnapped by the wicked Captain Hook, he left behind a ‘poisonous’ present for Peter... “PETER” Oh no Tinkerbell! Wendy and the boys has been captured by the pirates? I’ll rescue her. Why, Tink! You’ve drunk my medicine! It was poisoned? And you drank it to save my life? Tink? Are you dying..?” Tinkerbell’s light is fading... “PETER” (CONT’D) “Her light is growing faint. If it goes out, that means she’s dead. She says she thinks she could get well again, if children believe in fairies Do you believe in fairies? Say quick that you believe. If you believe - clap your hands!” Madame Du Maurier bursts into a round of applause - and then so does the rest of the room. “PETER” (CONT’D) (out to the audience) LOUDER. CLAP LOUDER! As the clapping grows and the music swells And the walls of the room begin to dissolve away... ... we reveal - Neverland. Realised in its purest form. Plush landscapes, bright colours, magical beings. The perfect fairytale world.

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136.

SONG: “NEVERLAND” (reprise). BARRIE (to Sylvia) That is Neverland... Barrie takes Sylvia by the hand, and helps her up. BARRIE (CONT’D) SECOND STAR TO THE RIGHT AND STRAIGHT ON TILL MORNING NEVERLAND IS WAITING TO BE FOUND THROUGH THE CLOUDS OF THE NIGHT AND THEN WITHOUT WARNING SUDDENLY YOU SEE IT ALL AROUND... Sylvia begins walking toward the light of Neverland. SYLVIA SHOOTING STARS, NEW SHAPES AND SIZES WAKENINGS AND NEW SURPRISES CAN SURPRISE THAT SOMETHING HERE IS HAPPENING UNIVERSE OF CONSTANT SPINNING EVERY END AND NEW BEGINNING CAN BEGIN TO FEEL THAT SOMETHING’S HAPPENING TO ME INSTRUMENTAL MUSIC. Sylvia steps into Neverland, as the world begins to close up around her, the boys holding on tight to Barrie and Madame Du Maurier as they watch her go... ALL SECOND STAR TO THE RIGHT A SPARK IN THE DISTANCE NEVERLAND IS CLOSER THAN IT SEEMS CLOSE YOUR EYES AND HOLD TIGHT THROUGH TIME AND EXISTENCE NEVERLAND WILL FIND YOU IN YOUR DREAMS And she’s gone. Neverland fades away and we’re left in the room with just the family NEVERLAND...

BARRIE

- focusing in on Peter, who stands watching where his mother has just vanished. NEVERLAND...

PETER

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SCENE 10. CHURCH/ KENSINGTON GARDENS Barrie is in funeral attire, standing alone. The bells of the church ring. Madame Du Maurier approaches him. BARRIE Where are the boys? MADAME DU MAURIER They’ve gone to the park. BARRIE Perhaps I should go and join them. MADAME DU MAURIER They’re going to need more than just a ‘playmate’ you know. This isn’t going to be easy. I shall respect my daughter’s wishes. Some... something I should have done more when she was alive... But I need to know you’re up to the job. You see, everyone they have ever loved has left them. And they’re terrified that you’re going to do the same. BARRIE I’m not going to leave them. MADAME DU MAURIER And you’ll have no problem consulting with me on a daily basis, I take it? BARRIE (playfully) You did say this wasn’t going to be easy. Madame Du Maurier is about to come back sharply, but can’t help but smile a little - this banter now familiar. MADAME DU MAURIER ... Very good, Mr. Barrie. (she goes. Stops) I am ... grateful. For the joy you brought my daughter, before... BARRIE (beat. He nods) MADAME DU MAURIER Just do a good job with the boys. I’m sure you will. She goes. As we dissolve into:

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138.

Kensington Gardens. Peter is sat on the bench. He has his note book on his lap. Barrie comes over and sits beside him. Silence. Just the sound of the birds in the garden. PETER (with the book) Mother put it back together. After I tore it up. BARRIE (nods. beat) Your mother put a lot of things back together, without anyone realising. She put me back together. I hadn’t realised I was broken. (beat) Peter, it was her wish in writing that... That I become your guardian. You, and Michael, and Jack, and George. ...

PETER

BARRIE I know I can never be your father. But if you would like me to stay. If you would like me to be a part of your life. Then I’m here. I’m not going anywhere. PETER (looking at his book) I thought she would always be here. BARRIE She is. She’s here. (taking it) On every single page that you write. PETER But why did she have to die? BARRIE I don’t know... When I think of your mother, I will always remember how happy she looked, watching a play about her family, the boys who never grew up... She’s in Neverland. And you can visit her any time you like.

26/8/13

... How?

139.

PETER

BARRIE By believing. Just believe. SONG: FEET DON’T TOUCH THE GROUND (reprise): PETER WHEN MY FEET DON’T TOUCH THE GROUND WHEN MY VOICE WON’T MAKE A SOUND HERE IT’S SAFE, IN THIS PLACE ABOVE THE CLOUDS Peter, tentatively, closes his eyes... PETER (CONT’D) ... I can see her... WHEN MY EARTH I CAN’T HURT AND I’M TO COME WHEN MY GROUND WHEN MY

PETER (CONT’D) FEET DON’T TOUCH THE FEEL THE THINGS THAT FREE, THERE’S NO NEED DOWN FEET DON’T TOUCH THE

BARRIE FEET DON’T TOUCH THE EARTH FEEL THE THINGS THAT HURT TO COME DOWN FEET DON’T TOUCH THE GROUND

FEET DON’T TOUCH THE -

MUSIC UNDERSCORES AS: The other boys turn up around the bench. Mr Barrie!

GEORGE

BARRIE Come along, I don’t think we can have you calling me Mr. Barrie any more, do you? JACK We could call you Uncle? Or father?

PETER

A moment, Barrie taken aback by Peter’s suggestion. BARRIE Father..? Well. If that sits well with all of you. MICHAEL What does ‘sit well’ mean?

26/8/13 JACK Just say yes. MICHAEL Yes. Father. Father. Father. Father.

GEORGE JACK PETER

BARRIE ... For as long as you’ll have me. So. What would you like to do this afternoon? GEORGE I have homework to do. JACK Not homework! BARRIE Well, homework is important. JACK George only likes school because he has a torch for a girl in his class. I do not! Urgh!

GEORGE MICHAEL

JACK She’s got scruffy hair and grins all the time like a cheshire cat! GEORGE She has a beautiful smile! BARRIE You said you didn’t have one. GEORGE I don’t... But she has a beautiful smile. BARRIE Well if you like her, George, then you must say so. All of you must always say what you feel.

140.

26/8/13 PETER Yes, remember what mother said... SONG: “STAND” RETURNS. (COUNTER WITH “WHEN YOUR FEET DON’T TOUCH THE GROUND”) PETER (CONT’D) STAND UP TALL, AND STAND TOGETHER MAKE THIS MOMENT LAST FOREVER MAKE A NOISE WITH ONE VOICE ALOUD STAND UP STRONG FOR WHAT YOU’RE FEELING STAND UP FOR WHAT YOU BELIEVE IN BE YOURSELF, ALWAYS STAND PROUD PETER/ GEORGE/ MICHAEL/ JACK STAND UP TALL, AND STAND TOGETHER MAKE THIS MOMENT LAST FOREVER MAKE A NOISE WITH ONE VOICE ALOUD STAND UP STRONG FOR WHAT YOU’RE FEELING STAND UP FOR WHAT YOU BELIEVE IN BE YOURSELF, ALWAYS STAND PROUD ALL STAND UP TALL, AND STAND TOGETHER MAKE THIS MOMENT LAST FOREVER MAKE A NOISE WITH ONE VOICE ALOUD STAND UP STRONG FOR WHAT YOU’RE FEELING STAND UP FOR WHAT YOU BELIEVE IN BE YOURSELF, ALWAYS STAND PROUD AND FLY!

Curtain.

141.